Bathroom Sink Miranda Lambert
“I wrote it with Natalie and Nicole in my condo in Nashville on Music Row,” Lambert continues. “The lyrics are funny, two of us are blonde, and we’re just talking about stuff like that, ‘can you believe we’re sitting in a high-rise condo right now, from where we all came from?’ I wanted it to be like a bunch of girls gossiping. Some people get somewhere just by putting on a lower cut shirt and making there hair a little blonder. That’s how some people do it, and that’s fine too, whatever it takes. But I wanted that feel in the song when we cut it, ‘let’s get some girls in here and see what it sounds like it.’ We had Nicole come in who wrote it with me, and Gwen Sebastian who sings with Blake on the road, and was also a contestant on ‘The Voice with him Season Two, and then Aubrey, Frank’s daughter, an amazing singer. We just got in there and got some cocktails and started talking and singing, and that’s what the songs supposed to be like, a gossipy girls song and kind of an anthem.” “Little Red Wagon” (written by Audra Mae/Joe Ginsberg)Lambert brings the sass in “Little Red Wagon,” a wild, cowpunk workout. Even with Lambert’s familiar turbo-twang vocal and tongue-in-cheek delivery, “Little Red Wagon” is among the most adventurous songs she has ever recorded. “There’s this girl named Audra Mae, and I kind of stalked her when I heard that song,” Lambert explains. “I was like, “I’ve got to talk to this girl, her record is amazing.’ So we got to be friends, and we wrote a couple of times in L.A. She’s from Oklahoma City and she lives in L.A., she’s exactly my age, and we just started hanging out. Finally, one day I mustered up the courage and said, ‘do you care if I cut Little Red Wagon, if I have the balls to do it, of course, because your version is so good?’ She said, ‘sure, go ahead.’ That’s her singing on it, too. It’s such a cool song. I love attitude songs, but they can get old if you don’t do ’em right. I don’t want to keep doing the same type of attitude song, I’ve got to change them up. I can’t wait to do this one live. It was so fun to cut and such a fun thing to do in the studio. It felt like me. “Smokin’ and Drinkin'” with Little Big Town (written by Natalie Hemby/Luke Laird/Shane McAnally) A wistful, atmospheric piece of nostalgia, with unexpected vocal effects and a ’70s soul vibe. “Natalie’s demos are so good, she’s such a great singer and so innovative, she inspires me as a singer, let alone a writer,” shares Miranda. “When I heard that song, I felt like it was nostalgic, there’s a lot of nostalgia and looking back on this album, thinking about where you were and what makes you who you are. I’ve never done a song like this, leave it to me to take a party song and make it sad. Just the other day we were doing a pasture party for my friend, we literally set the pasture on fire, people were smoking, we were drinking, my blue jeans smelled like smoke, and I said, ‘this is what that song is about.’ Anybody of any age can relate to it.” “Priscilla” (written by Nicolle Galyon/Natalie Hemby/Jimmy Robbins) A percussive rockabilly rave, “Priscilla” will surely draw comparisons between Priscilla Presley’s marriage to the King and Lambert’s own tabloid attention as the wife of country star Blake Shelton, with Lambert convincingly delivering lines like, “You and me share a unique position/Married to a man that’s married to attention.” “What better way to address it than this?,” Lambert asks. “I had been hanging out with Natalie, we’d been writing, and it was one of those weeks when somebody had handed me a magazine and we were getting divorced, or I was having alien twins, or something weird, and she was like, ‘how do you deal with this?’ I was like, ‘well, I don’t have a choice, I either deal with it or I go crazy.’ A couple weeks later she was watching a documentary on Elvis and Priscilla, and so she wrote this song with Nicole and Jimmy Robbins. She sent it to me, and I thought, ‘hmmm, I wonder where the inspiration came for this song?’ I played it for Frank and Blake, and they were like, ‘well, it’s different, and I was like, ‘yeah, but think about what this stands for in my life right now. I’ve got to address it, I can’t run from it, everybody knows it’s happening. Let’s just hit it head on and get it over with.” “Bathroom Sink” (written by Miranda Lambert)A pulsing country rocker that’s one of the album’s prime cuts, “Bathroom Sink” boasts a thrumming intensity and a vulnerable, heartfelt lyric, focusing on the mundane when much bigger issues are in play. “It’s amazing the amount of rejection that I see in my reflection,” Lambert sings in the chorus of a song that echoes everyone from the Who to Haggard. “I feel like on every record I’ve got one of those scary ones that I wrote by myself, so I can’t blame it on anybody else,” she says. “It’s scary for the rawness, and for the emotion in it. It’s kind a like, ‘should I put this on there, should I not?’ because it’s just, ‘here I am, here’s me.’ It’s one of those where your mom says, ‘gosh, this makes me sad,’ and that’s exactly what she said. But it’s just real, just a real moment. I don’t’ live there, but it’s a real moment that you go through. Everybody does. I wrote it on a plane by myself headed to a show. It’s just one of those moments in time, and I am proud of it. I take a lot of pride in writing by myself, because I feel like sometimes its so easy to write with all these amazing writers, it’s so easy to lean on them for better lines than you can come up with. But sometimes it’s important to just sit down with a guitar and write a song by your damn self, to make sure you still can, for one thing.” “All That’s Left” (written by Dixie Hall/Tom T. Hall)Pure country swing with modern twist, this classic from Tom and Dixie Hall features a retro Miranda vocal and a terrific performance from Nashville legends the Time Jumpers. “I opened a whole bunch of times for Asleep at the Wheel when I first started out in Texas,” Lambert says. “I guess this song kind of reminds me a little bit of that, if I’m lucky and worthy of sounding like them a little bit. I heard that song on the way home from a Beyonce concert, I went and saw Beyonce for the fifth time, yes, I’m a stalker. I saw her at American Airlines Center in Dallas, and I was headed home, and I had the radio on Bluegrass Junction on XM, and that song came on. I pulled over and Googled it, it was such a cool song, and then I realized that Tom and Dixe wrote it. I was going over it and over it with Blake and I was like, ‘we can do something different on this song.’ Blake had the idea to get the Time Jumpers on it, this music kind of lends itself to that. So Frank asked them and they said yes, I was so excited. That song has so many different lives it could have taken, but it has its own personality on our record, and it still felt so good. I was so nervous when they were in the studio that I had to go back in and sing it again after they left, because I couldn’t get my crap together, I was just watching them play. I was so excited and nervous I couldn’t sing.” “Gravity’s A Bitch” (Written by Miranda Lambert/Scotty Wray) A bluesy, boozy barroom rumination on aging that showcases Lambert’s ace-in-the-hole sense of humor. “I wrote this with my guitar player Scotty Wray, he’s been with me since I was 17, he’s in his 50s,” she explains. “We came to me at a festival and said, ‘hey, I got a title: Gravity’s A Bitch.’ I said, ‘yes it is. Let’s write it.’ So we got in the bus and literally wrote it in like 30 minutes, it kind of wrote itself. He has these amazing melodies, he plays guitar so well, and I said, ‘I know what it’s like after 30, you tell me the rest, what do I have to look forward to?’ We just started writing little things about every age. It was fun, it’s one of those things you have to face, everybody knows it’s gonna happen. That’s why there’s Botox and Spanx, I guess.