In her sixth studio album, Lee Ann Womack revisits the country music roots she had familiarized
herself with as a young girl. The result is a musical journey into the real-life world of heartaches and regret, happiness
and bliss neatly intertwined with fiddles, steel pedals, and banjos.
The first note of the fiddle-driven introduction
in the title track sets the tone for the whole album. No matter what form love takes, be assured that THERE'S MORE WHERE THAT
CAME FROM. Denial prompts a night on the town – albeit one spent alone. But, then again, in the beholder's mind, "ONE'S
A COUPLE; two's a crowd." I MAY HATE MYSELF IN THE MORNING is about living for the moment, despite foreseen consequences and
regrets lurking around tomorrow’s corner. For the time being, the glorious dueting fiddles and steel pedal veil a guilt
that has yet to surface. A summer fling leaves behind a lifetime of memories. Then, after realizing it was THE LAST TIME,
those happier times take on a greater significance. Too many years of taking life for granted will likely lead to having the
rug pulled out from under one's feet unexpectedly. Once done, however, it's too late to go back and fix what is broken beyond
repair; I'll venture HE OUGHTA KNOW THAT BY NOW. Love has a way of coming full-circle; Lee Ann must have had that in mind
when she co-wrote the autobiographical TWENTY YEARS AND TWO HUSBANDS AGO. It is an introspective song that appreciates the
blessings of a good life filled with unbound love, after having seen it fizzle once before. It's been said that good things
come to those who wait; one of those things is HAPPINESS. As the song points out, if you find it quick and easy, either you’re
extremely fortunate or more likely, what you happened upon is not "real" happiness but rather a short-lived bliss. Acceptance
allows a heart to heal and move on with life; that’s exactly what WHEN YOU GET TO ME is about. Though we may not understand
it, if we let life take its own course, we'll find that we'll end up just where we're meant to be! Being handed "a fistful
of broken glass" and then being "run over" seems anything but PAINLESS. Those who live to see it know that a simple "goodbye"
has been known to leave behind some ugly open wounds. The only uptempo song on the album is the bluegrass-tinged WHAT I MISS
ABOUT HEAVEN reminisces about a heavenly love that has since dissolved. Next is the lyrically-simplistic yet heart-gripping
WAITING FOR THE SUN TO SHINE. The album closes with STUBBORN (PSALM 151), a thought-provoking tune about learning to face
the unknown with utmost faith.
Remember the days when you didn't need a lot of fancy production or complicated layering
for good country music to shine? Those were the kind of songs and albums that made legends out of Loretta Lynn, Patsy Cline,
and many others. There's More Where That Came From plays just like those good ole vinyl records. In fact, MCA-Nashville
has marketed this album as a vinyl record! It looks like Lee Ann has struck gold – she can certainly hold her own with
the best of them! If there's more where that came from, Lee Ann, please bring some more around!