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This overdue follow-up Call Me Crazy brings in a new producer (Tony Brown) but has Lee Ann Womack in much the same traditionalist mode, sounding like a distaff version of George Jones at his finest.
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Call Me Crazy, the follow-up to her highly lauded "There's More Where That Came From," is Womack's best album yet.
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Womack retains some of that homespun charm on this quietly contemplative new album out today.
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Womack's natural balance of tasteful and evocative shapes each tune it touches, carefully stretching the likes of 'Solitary Thinkin'' to make it sweet-sounding and substantial.
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by Tony Brown, Call Me Crazy underscores his greatest strength: getting the essence of a vocalist across in a mix; but also his greatest weakness: the seeming inability to leave a musical backdrop until it's cluttered to death.
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Crazy is confused and conflicted. Taken in the context of Womack's career as a whole, however, it's fairly representative of how she has vacillated between sterling, smart traditional cuts like 'The Fool' and 'Does My Ring Burn Your Finger' and vapid Faith Hill knockoffs like 'Something Worth Leaving Behind' and 'Why They Call It Falling.'
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Call Me Crazy is best when Womack conveys the understanding that we’re all sinners, when musically she doesn’t try too hard to isolate herself from the sins.