Lee Ann Womack on Recording in Brooklyn and the State of Females in Nation

She’s been in Brooklyn for the better part of a December week, the skies a primarily unremitting gray, and with a storm now on the way. Frankly, it makes her want to drink.

One of the fantastic voices and authors in country, Womack’s dealing with the follow-up to her outstanding 2017 album, The Lonely, the Lonesome and the Gone, and she’s brought a clan. Her partner, manufacturer Frank Liddell, road-tripped up from Nashville, joined by their daughter Annalise Liddell– who, in addition to being an artist and songwriter, is an assistant engineer at the Gambling establishment, one of Nashville’s sweetest boutique studios (among her first tasks there was Miranda Lambert‘s The Weight of These Wings, co-produced by Annalise’s father).

Womack was shorter on time, so she flew. They convened at Brooklyn Recording– another A-list store that’s hosted Keith Richards (sessions for Crosseyed Heart), Dierks Bentley, and a substantial range of indie-rock, jazz, blues, and Americana acts– with an entourage of artists from all points.

At one point, wanting to refine the shuffle groove on a tune entitled “Call Me Up When You have actually Been Drinking,” Liddell secures his phone and calls an early version of George Jones‘ “You’re Still on My Mind” on YouTube. Jones is a seasonal touchstone for Womack; she’s covered that song, and she tape-recorded her last record with Liddell in Houston, at SugarHill Studios, previously Gold Star Studios, where Jones taped countless classics in the 1950 s.

Chamberlain stirs up his own variation of the groove, with the guitarists bubbling up around it. Earlier, Liddell mentioned having a Jerry Garcia guitar noise in mind for one section, however didn’t say that directly to the guitarists.

After a couple of passes, they get a take they enjoy with, and take a break to consider their next move.

So, you did your last album at SugarHill in Houston; now you’re in Brooklyn in December.

I just desired to get off Music Row– it can be artistically stifling.

The Lonesome, the Lonesome, and the Gone had a really bluesy vibe, with a lot of reverb and a great deal of dark songs. How’s the vibe of this record forming up?

It’ll be a lot like that. When I made the last record I was trying to knock the shine off, which with some of my earlier stuff wasn’t so easy to do. I wanted it to be more like the music I grew up with. I’m simply trying to make something that feels good to me, and after that we’ll simply see who else it appeals to! [Laughs]

How far along are you?

We’ll do some overdubs and vocals in different places.

Your other daughter Annalise is here; is she working?

Yep. And she’s been writing a lot; I discovered a song of hers that I wish to record and asked if I can suffice. We’re most likely gon na do one of her songs, too.

Neither. I do recognize that they grew up in a musical house, a music organisation home, so in some ways they could not get away from it. We’re not phase parents by any stretch.

What do you talk about at the supper table at the vacations?

Oh, no. They give me recommendations, and they have really eclectic taste; they turn me on to new music, and things from waaay back.

Right– one task at a time. What are your ideas on the fight for equal representation on country radio and in celebration reservations? Does it appear like things are changing from where you sit?

It doesn’t look like it, does it? However I try not to get slowed down by it. In some cases you can begin feeling, “What’s the point? Why am I even making records,” you understand? I don’t want to get to that point. But no, it doesn’t appear like it’s changing to me. And I see it across the board– for ladies, directors in movie and TV. You almost never see ladies. And it’s not due to the fact that they’re not there, and it’s not since they’re refraining from doing a terrific task. And it’s not simply in the entertainment industry. Things have altered in the past, but they’re not altering quickly enough today, if you ask me. I never discuss it, ’cause I don’t want to sound whiny. Realities are facts, and the numbers are there. You just do not see women being supported.

You have actually had massive hits, and are putting out some of the best records of your profession right now.

Well, thank you. Somebody has actually got to reverse it.

We’re huge Kacey [Musgraves] fans in our family. She was constantly herself. Whatever that she did came directly from her and she refused to budge for anyone.

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Angie Ronson

Angie Ronson is Editor-in-Chief at THRS. She covers the transformative impact of new technology on all sectors.