There's More Where That Came From

1	There's More Where That Came From 3:53
2	One's a Couple 4:10
3	I May Hate Myself in the Morning 4:34
4	The Last Time 4:23
5	He Oughta Know That by Now 3:43
6	Twenty Years and Two Husbands Ago 3:49
7	Happiness 4:10
8	When You Get to Me 4:04
9	Painless 4:34
10	What I Miss About Heaven 2:55
11	Waiting for the Sun to Shine 4:31
12	Stubborn (Psalm 151) 6:52

Barnes & Noble

The fiddles strike up an achy flourish; the singer enters drawling, lusty but restrained -- at first lamenting and, as the narrative unfolds, clearly relishing an illicit tryst in a motel room. The title tune of Lee Ann Womack's new album speaks volumes: Here's a celebrated country artist who's had a fair share of crossover success in the pop market, now returning to what brought her to the dance in the first place, via a set of classic honky-tonk-inspired country, some string-embellished ballads out of the Billy Sherrill production canon, and some rabble-rousing hard country. Not to mention some unaffected, deep-country vocalizing free of pop affectations and long on heart and soul, with broken hearts, bruised souls, and tarnished commitments all over the place. The surging, anguished twang and moan of guitars, fiddles, and harmonica on "The Last Time" reflect the tortures attending the singer's regret at not appreciating a good thing while she had it. Taking a hard-hearted tack in "He Oughta Know That By Now," Womack complains with righteous self-confidence about going out to get what's hers -- namely a one-night stand -- after being ignored by a workaholic husband, as a briskly finger-picked acoustic guitar part keys a bright, shuffling arrangement that contrasts with the dark doings the song describes. As a pedal steel moans, a churchy piano plays dark chords, and strings gently ascend, Womack offers up a deeply felt ballad, "Twenty Years and Two Husbands Ago," in which she reflects, with no small measure of sorrow, on the hard lessons she learned a bit too far down the road of her life's journey. This is a beautiful album, honest and gritty and deeply felt; that it takes some dicey moral stances is grist for debate, and reason enough to welcome Womack back to where she belongs. David McGee

All Music Guide

Lee Ann Womack has always been more comfortable with country-pop than hardcore country, sounding relaxed and assured in smoother surroundings. That friendliness helped Womack become one of the most popular country singers of the late '90s, and it's what made her albums enjoyable even when they were a little bit too slick or relied on material that was just this side of generic. There's More Where That Came From, her fifth proper studio album and first after her 2004 Greatest Hits compilation, is still firmly within the country-pop confines, but there's a notable difference -- as the rather brilliant cover art suggests, this hearkens back to the sound and style of early-'70s country-pop albums from the likes of Barbara Mandrell, Loretta Lynn, and Dolly Parton. Not that this is a retro effort, or anything like a stab at neo-traditionalist country. Instead, Womack takes her inspiration from these records, crafting a record that's laid-back but never lazy, smooth but never too slick, tuneful without being cloying. While it's not far removed from her earlier albums, There's More Where That Came From has a warmer feel, a textured, colorful production, and, best of all, a strong set of songs that may be highlighted by the cheater's anthem of the title track, but has 11 songs of equally high quality. All this adds up to an album that's not only the best album that Lee Ann Womack has yet made, but one that does suggest that there is indeed more where this came from. Stephen Thomas Erlewine