By Drew Ailes
By Joseph Hess and Mabel Suen
By Kenny Snarzyk
By Dave Geeting
By David Thorpe
By Ben Westhoff
By Shea Serrano
By Drew Ailes
It's good to be Lucinda Williams right about now.
There's her tour, which is going great. Make that better than great: Her new rhythm section, with David Sutton on bass and drummer Butch Norton backing up Williams and virtuoso lead guitarist Doug Pettibone, is clicking, and her fiancé, Tom Overby, is accompanying her on the road. (He's also her manager.) And last month, West, her most recent disc, garnered three Americana Music Award nominations, for Album of the Year, Song of the Year ("Are You Alright?'") and Artist of the Year.
"I'm just thrilled with the new band. We're having a good time, you know, everybody gets along great the band, the crew, everything," Williams says. "And at this time in my life it's nice to be able to share this time with the love of my life. He's the first person I want to be with. We're best friends. So that's been really cool."
Home in LA on a two-week hiatus, Williams sounds rested. Or maybe she always sounds that way. Williams talks like she sings, not literally but in the sense that her drawl puts you in the mind of a late night somewhere south of where you are. Outdoors, but not far from a bar. Someplace where the air is hot and languid, the beers icy and light.
So it seems a little, well, rude to bring up the fact that some people had some pretty infelicitous things to say about West when it was released around Valentine's Day. The album drew scattered acclaim Entertainment Weekly gave it top marks, likewise amazon.com and allmusicguide.com yet it's safe to say that West was Williams' least well-received work since her breakthrough disc, Lucinda Williams, launched her to cult stardom back in 1988.
In many ways West was a departure from the alt-country press-pleasing material that pervaded Williams' earlier work. The musical arrangements, courtesy of producer Hal Willner, were uncharacteristically lush, and the subject matter veered from visceral to dreamy. Two songs "Mama You Sweet" and "Fancy Funeral" dealt with the death of her mother. And what to make of "Wrap My Head Around That," a nine-minute declamation that recalled Marianne Faithfull's venomous masterpiece, "Why'd Ya Do It?" Or the sneering "Come On," with its mocking double entendre: "You didn't even make me, come on!" The ingénue of Lucinda Williams ("I Just Wanted to See You So Bad"), who'd lain on her back and moaned at the ceiling on Car Wheels on a Gravel Road ("Right in Time"), cackling at some poor fellow who couldn't measure up? The temerity!
Pitchfork called West "tedious" and "manufactured." Ben Ratliff of the New York Times dug into his thesaurus and pulled out "puffed up" and "draggy." (And really, who gives a fuck what Entertainment Weekly says?)
There were parts of the album they flat didn't get.
"The reviewers kept claiming that 'Unsuffer Me' was a song about an ex-lover," Williams says. "All this time on the road, I've had to clarify the song before I sing it and make sure people understand that this is not a song about an ex-lover; this is a song about self-enlightenment and the search for spiritual fulfillment. And consequently that song has taken on a whole different spin. The reaction to that one song has been phenomenal. But the critics haven't described it like that. When the record first came out, they assumed that that song was 'just another song about a guy who done me wrong' and it's anything but that." Same goes for "Are You Alright?" which Williams has felt it necessary to explain was written for her brother, not some extinguished old flame.
Williams traces the turning point in her songwriting and the critical reaction to 2001's Essence. "I was kind of going through a dry spell where I wasn't really writing that much, because of the pressure to live up to Car Wheels," she says. "And I knew I was going to have to break out of that somehow." In order to jump-start the process, she pulled out her notebooks, which were filled with unfinished songs. ("I never throw anything away," she says.)
That exercise yielded several songs. But the remainder of Essence came from someplace else. "When you look at Essence, and you look at World Without Tears , you can see me kind of branching out, trying different things," says Williams. "Like 'Righteously,' on World Without Tears, and 'Atonement,' 'American Dream.' I look at it kind of like poetry set to music.
"I started getting a lot more criticism after Car Wheels," she adds. "I think it was also because I was more well-known then I wasn't like the critics' darling anymore. You know, it's hard to deal with on a personal level, because then you start to be, like, you want to please everybody, and you can't. But then at the same time, it can kind of push you into this place where you go, 'Well, what the hell, I might as well just do whatever I want to do,' because not everybody's gonna like everything anyway. So you just kind of get to this place hopefully you get to this point where it kind of makes you stronger, and it sort of catapults you into this other place artistically."