The way the tune shifts makes it feel like another song has been grafted onto it. Nothing about the music, bright and buoyant to contrast the nature of the lyrics, is particularly striking, until the final minute or so. She is begging her man to level with her, and letting him know she can only take so much.”īillboard: The one song on the album that drops level in quality from the rest of the material. Williams: “We conjured up a story about a woman who was married to a philandering man.
They bring out the greatness of the song, the conviction in the lyrics and the flexibility of the melody.
That might explain why I kept getting goosebumps.”īillboard: Clarence Carter, Marcus Daniel and Wilbur Terrell wrote “Tell Mama” and Civil Wars’ plaintive rendition is as far away from the original as anyone could imagine. We thought it would be fun to take a stab at ‘Tell Mama.’ I found out later that where we recorded was the same room she recorded her version. I always felt the musical ghosts in that studio, one of whom was the great Etta James. Williams: “We recorded the performance at Fame studio in Muscle Shoals, a place we’d written a few songs. We started performing it live and it became a fan favorite.”īillboard: The answer to the question: do the Civil Wars have a potential commercial appeal within country radio? Yes - it’s the up-tempo, group-vocaled, faith-inspiring “From This Valley.” It’s actually the oldest song written on the album. Williams: “That’s our Grand Ole Opry song. It has a visceral impact, as the vocals evoke the fear of death. Williams: “This song is our take on an Americana murder ballad.”īillboard: The album’s most complex number, Williams and White drop a cappella mountain singing into a swirling rock ‘n’ roll stew. There’s considerable commercial potential in “Eavesdrop” – the idea that pain can be assuaged by a lengthy hug is part of it – and it feels like the sort of record that starts at Triple A and crosses over to country or pop.
There’s a different timbre to it now, and I love that I can hear the story of my son in my singing.”īillboard: A mid-tempo, largely acoustic number that swells and builds, “Eavesdrop” could become Williams’ bread-and-butter as a solo artist. Williams: “Pregnancy literally changed the makeup of my vocal cords.
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We wanted to represent that we all experience loneliness in our lives.”īillboard: Initially framed by guitars that create a visceral level of paranoia and claustrophobia, “Dust to Dust” hits an instrumental break and it feels like someone has opened the doors and windows and let in a breeze. … When John Paul and I wrote this late one night in Birmingham, England, we decided to change the pronoun at the end of the song. It’s about love, separation, desire and enjoying the “same old, same old.” The gentle acoustic guitar work is gorgeously voiced. Williams: “This … represents the ache of monogamy… What I’m realizing now is that sometimes the ‘same old same old’ can actually be rich, worthwhile and a great adventure.īillboard: A beautiful song about a break-up, “Same Old Same Old” is the sort of song you expect to hear during the emotional climax of a dramatic film. White and Williams alternate on verses that Williams describes to a tee.
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It’s full of innuendo and Southern Gothic tones.”īillboard: Distorted electric guitars announce that the hush of “Barton Hollow” is a thing of the past. Williams: “It’s a little brooding, a little dangerous. The use of the mandolin is similar that of R.E.M., lingering in the shadows amidst a storm of guitars. … I remember asking John Paul to play quietly so he didn’t wake up the baby.”īillboard: A powerful lead-off track driven by Williams’ anguish-filled vocals and a compelling use of dynamics. John Paul and I wrote this song in the screened-in porch of my new home. Joy Williams: “This song pays homage to regret.
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