“Hands on You” opens Lorrie Morgan’s latest album Dead Girl Walking with audacious attitude. The song makes no bones about its subject matter. It’s a song of untampered desire without sounding dirty. However, it’s completely unambiguous. The songwriting weaves a handful of clever understated twists into the tune. It isn’t a straight-ahead country number; Those influences are present throughout Dead Girl Walking, of course, but Morgan is far from an one-trick pony. Songs such as this prove it. The new album incorporates plenty of familiar instrumental touches, but there are horns, as well, alongside glockenspiel and vibraphone. String arrangements make their presence felt. There’s even a mellotron putting in an appearance.
Such a list makes it clear that this isn’t your garden variety Nashville recording. Lorrie Morgan has come too far for that. “Dead Girl Walking” underlines how far she’s advanced. It riffs on time-tested themes of heartache but with a level of mature sophistication that far outstrips other cookie-cutter efforts of this type. Crack guitarists such as Brent Mason and Pat Buchanan make important electric contributions to the collection, and the six-string presence during the title song is a pivotal counterpoint for Morgan’s vocals.
Some cynical listeners may snicker about “I Think It’s Jesus”, but the earnest faith in the song’s lyrics goes far beyond dogmatic faith. Morgan sings without apology. Several highlights include a turbulent arrangement that moves from restrained spartan passages into full-blown grandeur. She flawlessly moves between those moments without wavering or losing her way. “Mirror, Mirror” is 180 degrees different. This song finds Morgan working in ballad mode, but she puts a distinctive stamp on the form that lifts it out of standard fare. Jimmy Nichols’ piano playing is exceptional.
He figures as well into the next track “Days Like These”. This is much more musically down to earth than the proceeding performances. It’s appropriate for a deceptively ambitious song that eschews chronicling sad-eyed tales of heartache in favor of a track that relishes life’s simple pleasures. It has an easy-going tempo that carries listeners along. “I Think You’re the Greatest” has an unique slant. It’s a love song and full of emotion, but the subject of the singer’s affections is a pet, rather than a human love. It’s eminently relatable for anyone who knows an animal they consider a part of their family.
“I Almost Called Him My Baby by Mistake” is a Larry Gatlin tune that embodies pure country music strengths. Morgan’s voice plumbs depths of emotion that few singers can match. She shows her decades of experience and innate talent by never exploiting the emotional potential in an excessive or obvious fashion. “You Send Me” covers the Sam Cooke classic with cool skill, but there’s plenty of emotion rife throughout the performance. The note-perfect accompaniment matches Morgan’s mood without ever overshadowing her singing.
There isn’t a single miss on Lorrie Morgan’s new album Dead Girl Walking. She’s working at the peak of her powers deep into her career and shows no signs of slowing down. It checks off every conceivable box and leaves you wanting more. Long may she run.
Mindy McCall
