Presley’s upbringing in the hollows of Eastern Kentucky provides her with an endless well of believable first-person details that she uses to create the quirky, cockeyed fictions on American Middle Class. Hers are the types of stories that bait autobiographical readings— always a critical dead-end, even when Taylor Swift insists on dropping hints as to who her songs are about— but what Presley does best is create a sustained mood.
The countdown concludes with our top twenty singles of 2014. Check out the first twenty entries here, and look for our countdown of the year’s twenty best albums tomorrow.
“The Devil is All Around”
Shovels & Rope
LW #5 | JK #13
The soulful husband-wife duo that comprises Shovels and Rope delivers a no holes barred analysis of trials and temptations, which boils down to the idea that the devil is all around, which means that one must do what he can to push against such a devastating force. – Leeann Ward
On first listen, the Pistol Annies’ new single “Hush Hush” immediately stands out as being their hardest rocking release to date. It sounds more like something one might expect to hear on one of Miranda Lambert’s solo albums than the Annies’ traditional-leaning debut. It seems the Annies are getting a harder radio push this time around – definitely a good thing since country radio has been largely in want of a good girl group for the past ten years.
The production may be a bit more polished, but the song’s sentiment is anything but glossed-over. “Hush Hush” offers a darkly comic look at the volatile holiday gatherings of a dysfunctional family, while also slyly winking at every family’s need to sweep dirty secrets under the rug and put their best foot forward. “Hide your tattoo, put on your Sunday best, pretend you’re not a mess, be the happy family in the front pew,” the three Annies sing during the song’s closing bridge.
Though something of a sonic departure for the Pistol Annies, “Hush Hush” does not get away from the characteristics that made them an outstanding group in the first place,
nor does it forsake its identity as a country record with an arrangement that simultaneously rocks and twangs. “Hush Hush” is smart, self-aware, packed with personality, and best of all, it turns widely-relatable frustrations into a reason to chuckle. At a time in which many country hits take place in an imaginary backwoods utopia, the Pistol Annies here serve up another welcome slice of reality.
Written by Miranda Lambert, Ashley Monroe, and Angaleena Presley
A standout cut from the Pistol Annies’ terrific Hell on Heels album, “Takin’ Pills” served as a thesis statement for the project, introducing each individual member of the group by her reputation and her preferred vice and giving the group’s exploits a broad narrative arc.
For the uninitiated, Pistol Annies are no supergroup: They’re “not trying to get rich/[They’re] just trying to get by/Playing for tips on Saturday night.” And “Takin’ Pills” proves that they’ve got the kind of tunes that should have their open guitar-cases overflowing with cash.
The lyrical hook (“One’s drinkin’/One’s smokin’/One’s takin’ pills”) and the melody both have real follow-through behind their punches. The track’s arrangement is pure roadhouse, equal parts honky-tonk and sweaty bar-rock, a perfect match to the Annies’ rowdy attitudes.
To that end, “Takin’ Pills” works as a catchy standalone single that plays fast and loose with matters of artistic identity. And in doing so, the timing of the single’s release invites an important if somewhat obvious comparison, as “Takin’ Pills” draws the limitations of “Lone Star Annie” Miranda Lambert’s current single into sharp relief.
The prevailing tone of “Takin’ Pills” is one of toying with image in ways that are both purposeful and, above all else,playful: The Annies are playing dress-up and are having a ball doing so, and that sense of fun shines through in the recording. It’s a refreshing about-face from the dead-serious posturing that Lambert (and her co-writer, “Holler Annie” Angaleena Presley) adopt on “Fastest Girl in Town.” Lambert, Presley, and “Hippie Annie” Ashley Monroe look at their bad-girl vamping on “Takin’ Pills” as a means to a greater end, while the disheartening, unintentional self-parody of “Fastest Girl in Town” is a dead-end.
A killer hook. A swaggering performance. A rough-and-tumble arrangement. A smart, self-aware narrative that knows exactly how to develop an artistic persona. “Takin’ Pills” boasts all the signature elements of Lambert’s best singles. It’s a shame that they’ve gone AWOL from her solo material, but at least Pistol Annies and their broke-down van are still forging ahead.
Written by Miranda Lambert, Ashley Monroe & Angaleena Presley