TANYA TUCKER / My Turn

(Saguaro Road Records)

Produced by Pete Anderson

COUNTRY’S ORIGINAL REDNECK WOMAN RETURNS

In Tanya Tucker’s liner notes for her first album release in seven years, George Jones introduces the set by saying, “There will never be a more distinctive voice in country music than Tanya’s.” No one could argue with the country legend regarding his affection for another. My Turn is the latest in a string of classic country cover albums that have been released over the past several years, from artists such as Alan Jackson, Patty Loveless, Pam Tillis, and Martina McBride. However, none could be more personal than Tucker’s.

Beau Tucker guided his daughter’s career from her first hit with “Delta Dawn” at age 13, up until his death in 2006. He watched his little girl grow from a teenager with a mature voice, to a mature woman who became a country music icon. In between, years of hard living, alcohol, drugs, and eventually, motherhood shaped the textures of Tucker’s unmistakable vocals. Very few artists have the ability to squeeze pure emotion out of a song the way that Tucker can; hits such as “Soon,” “Would You Lay With Me (In A Field of Stone),” and “Two Sparrows In A Hurricane” cement that statement. Her latest effort is a tribute to her late father, through classic songs made famous by some of his favorite male artists.

Tucker’s husky delivery, along with Anderson’s subtle production refresh country standards by Jones (“Walk Through This World With Me”), Hank Williams (“Lovesick Blues”), and Eddy Arnold (“You Don’t Know Me”). Flaco Jimenez’s Tex-Mex accordion breathes new life into Charley Pride’s “Is Anybody Going To San Antone.” Guest vocalist Jim Lauderdale uncannily channels Buck Owens on “Love’s Gonna Live Here,” The Grascals lend their talents to Conway Twitty and Loretta Lynn’s “After The Fire Is Gone,” creating a magical bluegrass weeper. Tucker wisely chooses some more obscure gems for the set, including Lefty Frizzell’s “I Love You A Thousand Ways,” and Wynn Stewart’s bouncy “Big Big Love.” This isn’t your usual batch of songs you’ve heard repeatedly, and the song choices serve her well.

Ironically, it is the choice of material that may disappoint some fans. Those expecting Tucker’s fiery performances (“It’s A Little Too Late,” “Down To My Last Teardrop” “Texas When I Die”) will find few reminders of her tough-girl past. This is not that kind of Tanya Tucker album, and it’s not intended to be. Tucker pays restrained homage to her musical heroes, and her reverence pays off; she lets the music speak for itself, rather than excessively reworking it.

The album’s best cut is Merle Haggard’s “Ramblin’ Fever.” Tucker infuses her signature, spirited style into Anderson’s infectious production piece. One wonders if all of the album’s tunes would have worked better with a similar approach. In short, the answer is no. Tucker’s just-right interpretations revisit old friends that are as timeless as the artist herself.