Instead, they were after something more nuanced, with “songs that she sings and I’m kind of leaning in the doorway in the background,” as McGraw described it. “Knock on wood, it never came.”Įven so, each singer’s 50th birthday this year “told us this was probably the time to do it,” said McGraw.įor the album, the couple knew they didn’t want to make a straight duets record with neatly defined he-said/she-said verses. “And I was kind of waiting for a lull in what I was doing,” McGraw added. “The girls were going into real school that you couldn’t pull them out of,” Hill explained, curled on a sofa next to her husband in her dressing room. But the timing was never quite right, they said a few hours before the Bakersfield gig. The couple talked often about reviving Soul2Soul (which they’d previously toured in 20) and about making an album together. He also pursued an acting career with roles in movies such as “The Blind Side” and “Tomorrowland.” 1 single with “ Humble and Kind,” which also won a Grammy Award for best country song. McGraw, meanwhile, went full steam ahead, releasing half a dozen studio albums between 20 last year he scored a No. One of the biggest country stars of the late 1990s thanks to hits like “ This Kiss” and “ Breathe,” Hill backed away from music after a 2008 Christmas album in order to focus on raising her and McGraw’s three daughters. “He was like, ‘We’re gonna make this record together, but really I’m just excited to hear Faith sing again.’” Hemby recalled being invited last year to a songwriters’ dinner at the couple’s home, where McGraw laid out his vision for the album. (The tour, which wrapped its first leg last month, will pick up again in early 2018.) “They’re not speaking for each other - they’re speaking for themselves,” said Natalie Hemby, a Nashville songwriter who’s worked with Miranda Lambert and Kacey Musgraves and who performed as an opening act on several Soul2Soul dates over the summer. Here, in contrast, Hill is on equal footing with her husband in songs with room for more than one point of view. But you can also look at the record as an implicit rebuke to a modern country scene in which women have been largely relegated to supporting roles - as objects of lust or well-meaning admiration in songs by the men who currently occupy 18 of the top 20 spots on Billboard’s country chart.
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