On November 1, Miranda Lambert will release her new album, Wildcard. If previous releases are any indication, it’s going to be a release to remember. Since her debut in 2006, no artist has been more consistent with their albums. Here is a look at her recorded catalog – from worst to first – although, in the case of Miranda Lambert, worst isn’t truly that bad!
It was apparent from her earliest appearances on Nashville Star that Lambert was offering a new sound to country music fans, and her first major-label disc proved that. At the time, nobody was recording songs like “Me and Charlie Talking” or the explosive title track. Kerosene proved she was on her way.
5. Crazy Ex-Girlfriend
“Gunpowder and Lead” showed that the spicy side of Lambert was still very much at the forefront, but material like “More Like Her” proved that she could offer a more sensitive side to her sound – and her fan base grew as a result.
Lambert’s name was listed as writer on the majority of the tracks on this career-defining set, but maybe proof of how much she was stretching came on two of this set’s outside cuts. John Prine contributed the quirky “That’s The Way That The World Goes ‘Round,” and Tom Douglas and Allen Shamblin’s “The House That Built Me” helped to cement the singer as an award-show favorite.
3. For The Record
As her trophy case grew, this 2011 gem found Lambert continuing to flex her creative muscle. Tracks like “Fastest Girl In Town” and “Mama’s Broken Heart” proved to be evidence that Lambert was an artist that you didn’t want to mess with, and cuts such as “Dear Diamond” showed that her traditional zen was still very strong. And, then, you have “Over You,” which remains one of her most impressive performances yet!
2. The Weight Of These Wings
It would have been easy for Lambert to continue her winning ways on this record, but in the weight of the collapse of her marriage to Blake Shelton, fans and the industry were anticipating something a little more introspective. She delivered with this solid two-disc set that showed the artist at her most raw and vulnerable, thanks to material such as “Vice” and the sobering “Tin Man.”
She collaborated with Carrie Underwood (“Somethin’ Bad”), Little Big Town (“Smokin and Drinkin’) and Nashville club favorite The Time Jumpers (“All That’s Left”) and managed to make each sound as cohesive and as musically tight as anything she had ever done. She showed her sultry side on “Little Red Wagon,” tipped her hat to earlier eras with “Automatic” and “Another Sunday In The South” and let audiences into her private life with the telling “Priscilla.” Needless to say, the singer has never sounded better.