Miranda Lambert is a rare and fascinating case study of an artist who is able to push a significant number of records out the door, but is hard-pressed to receive equally significant radio airplay in return. While her first album, Kerosene, was certified Platinum and the follow up project, Crazy Ex Girlfriend, fared similarly well with Gold certification, she has only managed to squeak into radio’s top ten once with “Gunpowder And Lead.” On her third album, Revolution, it is entirely possible that Lambert has finally found a way to strike the tenuous balance of pleasing both critics and the general country music listening public with her album consisting of everything from sensitive ballads to rocked up, punk-flavored songs and a lot in between.
Not only does her impressive range of versatility sonically manifest itself, her depth of influences also appears by way of song contributions by people who aren’t just the usual suspects, but also dips into the pens of some highly esteemed Americana artists who aren’t typically covered by mainstream artists, as she did with songs from Gillian Welch and Patty Griffin on Crazy Ex Girlfriend. While there is a song that is co-written with the male members of Lady Antebellum and three co-writes with Blake Shelton, more interesting contributions are Fred Eaglesmith’s “Time to Get A Gun”, which is actually more relaxed than Eaglesmith’s manic rendering, Julie Miller’s “Somewhere Trouble Don’t Go” that was rearranged with a punk vibe, and a lyrically watered down (with confusing changes) but sonically amped up version of John Prine’s “That’s the Way the World Goes ‘Round”. Additionally, she includes three songs written with Ashley Monroe, including the catchy “Me and Your Cigarrettes” (also written with Shelton), which Monroe sings on as well.
As was ever present in her previous albums, Lambert maintains a certain edge for which she is best known both in sound and lyrics. Songs like “Maintain the Pain” (with a guest appearance from Blake Shelton), “Time to Get A Gun”, “Sin for A Sin”, “White Liar” and “Only Prettier” display Lambert’s trademark tendency toward the attitudinal. While all these songs are noteworthy for various reasons, “Only Prettier” specifically taps into Lambert’s sardonic capabilities, which results in the most amusing song of the album. Using political jargon, she suggests that the high society crowd can get along with the less refined folks but ends up antagonistically concluding with the barb, “We’re just like you, only prettier.”
However, as is also often overlooked with Lambert’s music, there is certainly a more sensitive and introspective side that is actually more prevalent on Revolution than on her prior albums. In fact, “Makin’ Plans”, “The House That Built Me”, “Airstream Song” (her answer to Merle Haggard’s “The Way I Am”), and “Virginia Bluebell” can all be described as gorgeous. Incidentally, they are also the quieter tracks. Of these songs, the most thematically compelling is “The House that Built Me”, which is an unshakably touching tribute to the contribution of the childhood home and its accompanying memories. “If I could just come in, I swear I’ll leave/Won’t take nothin’ but a memory from the house that built me”, she promises the house’s current owner.
In this fifteen song set, Lambert does not merely rest on the comfort ability of her past album’s themes and productions. Instead, she reaches for growth and diversity. While she is not completely successful (mostly thanks to some heavy production choices), her attempts to stretch herself are largely positive and indicative of an artist who is mainstream but not afraid to stay true to her tasteful and eclectic roots. Moreover, Lambert continues and even improves upon her natural inclination toward quality songs, stellar vocals and intriguing productions. Hopefully, she will someday be truly rewarded for her artistic integrity by receiving airplay to match her sales.