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There's More Where That Came From

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Critics' Reviews

amg review
Lee Ann Womack has always been more comfortable with country-pop than hardcore country, sounding relaxed and assured in smoother surroundings. That friendliness helped Womack become one of the most popular country singers of the late '90s, and it's what made her albums enjoyable even when they were a little bit too slick or relied on material that was just this side of generic. There's More Where That Came From, her fifth proper studio album and first after her 2004 Greatest Hits compilation, is still firmly within the country-pop confines, but there's a notable difference -- as the rather brilliant cover art suggests, this hearkens back to the sound and style of early-'70s country-pop albums from the likes of Barbara Mandrell, Loretta Lynn, and Dolly Parton. Not that this is a retro effort, or anything like a stab at neo-traditionalist country. Instead, Womack takes her inspiration from these records, crafting a record that's laid-back but never lazy, smooth but never too slick, tuneful without being cloying. While it's not far removed from her earlier albums, There's More Where That Came From has a warmer feel, a textured, colorful production, and, best of all, a strong set of songs that may be highlighted by the cheater's anthem of the title track, but has 11 songs of equally high quality. All this adds up to an album that's not only the best album that Lee Ann Womack has yet made, but one that does suggest that there is indeed more where this came from. ~ Stephen Thomas Erlewine, Rovi
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