MIRANDA LAMBERT RELEASES NEW ALBUM PALOMINO (AUDIO & VIDEO)
Here are the Intro, Outro and Story Work Parts to support the release of Miranda Lambert’s Palomino. Thank you for your continued support!!
**High quality video downloads are available HERE**
“Actin’ Up felt right for the first song. I was struggling with the sequence, I kind of left that up to the boys. I was so inside of it at that point and had lived with it, taking breaks. We worked on this record for two years, you know, and I lived with all these songs and then the Marfa songs coming in to the picture with a whole different vibe. I just took a step back and I was like, tell me from, we all took a break from listening to it for like a month before we sequenced it, because everyone was like, just needed a minute. And Jason Lehning was a huge part of that he was the engineer on this record. And he had an idea from the beginning ’cause he was a little outside of it not being the songwriter or like bogged down in the work tape or whatever. But Actin’ Up felt right to everybody because it sort of eases you in to this like journey because you’re like, what are we doing here? You know what I mean? Mirror mirror on the saddle here my rhinestones, rattle catches my ear. And I thought let’s get people in like from the first you know, the first note, the first line of the song especially the first line of a record, that’s important you can lose people quick. You know, so I always try to put something that’s like I would want somebody to go start that over. What do we do in here? What’s funny is, we said the second we started writing Actin’ Up, Natalie is going to kill us because she wasn’t in the room. Because it’s so her, which is weird because she was such a part of this record. It’s so Natalie like we were channeling her and I was like Mirror mirror on the saddle is kind of cool because I was thinking of the disco saddle at Billy Bob’s so I was like that’d be a cool visual to start a song with you know and then like where do you go from there like with with Billy Bob looking for new Ex and then Luke [Dick] was like what about even Tiger Woods couldn’t swing it this good? I was like okay and it took the song and like instantly elevated it and so then we got to use all these, we ran with that we ran with all these crazy metaphors that don’t really make any sense but they make total sense.”
“The reason that this combo works so well I think is because of the rock influence and the cosmic cowboy vibe that Luke [Dick] brings and then this bluegrass Texan. You know, I wanted all those flavors, because that’s sort of what I’ve done musically. All my records have led to a record like this in a way because it’s got kind of everything on it and to have In His Arms I mean, that’s my Easy From Now On feel that’s what I get from that song and like that Emmylou country you know, if I could, if I could get as close to Emmylou Harris country song as I could. I think In His Arms is that one.”
“My favorite Geraldene is the one that we did on the hill in Marfa one take where I mess up and I fall off time and like the raw, real one-take Marfa Geraldene is probably my favorite. ZZ Top is our huge influence. You know, especially on John and I. We wrote, we were writing to that vibe, even just with acoustic on a picnic blanket and Marfa. So the fact that we finally got their produced was like full circle. In fact, that’s the song that John and Jack got in a fight about when we were writing, because I was like, I have this title, Geraldene. And we start writing it and they like started arguing, so long and so bickery like two little siblings, because one of them wanted it to sound like this and one of them wanted it to sound like this. And so I went and made a drink, a sandwich, chicken salad or something. Came back, I’m like are y’all done? We’re writing about a truckstop Queen, can’t be this hard. It was funny. It was actually really funny. That moment I came back and I see him like this close each other’s face like really talking with their hands. I would look out the window and be like, five more minutes. Let them buck it out, and then we’ll go finish this song. We were consciously like, we’re not trying to chase Jolene, obviously. So let’s just say Jolene, because we can’t beat Dolly and we can’t beat that song. But we want to ode to it because Geraldene wishes she was Jolene but she’s never gonna be that cute. And we knew that upfront. But then, but then there’s this whole, like, last verse where it’s like, if I was a man, I’d make you my Dallas Alice because you’re hot. But back off. I’m the only bitch in the band. It’s really easy. I love it.”
“The Tourist it is a very important song on the record. Number one it’s the first one we wrote for this record. And really like with a vibe in mind. Number two I don’t feel like I’ve gotten to do that that much in my life like I tour. I don’t get to be a tourist and I love to travel. The only way I can gather information and for my creative process is to go live life I mean that’s Loretta School. I live life so I could write about it. Like but with my job and the way that it works I go everywhere and I don’t see much you know? I mean, all these places but I don’t experience the place because I’m just in and out. So I think The Tourist is like the song of all the songs the song that I want to live out the most. And also learn that Hohenwald has like this huge like garage sale, like once a year where they just dump all these trucks have like clothes and you go and you dig through and Natalie was like, I’m taking you to this it’s the best thrift sale ever. And also like in Hohenwald, Tennessee? Who knew?”
“So I grew up going to the boats in Shreveport which is casinos on the water which I don’t know why that’s like, you can’t gamble on land but the boats don’t sail they just sit on the river and they’re casinos. So I grew up going to those with my grandmother my whole life and so when we were sort of writing for, when we started writing Music City Queen it was very easy for me to picture this boat and what it all entails and how it smelled and how it felt in the bad lighting and the really bad carpet. But somehow you have a great trashy time and it’s perfect. I think it’s one of those Shreveport but it’s like if you took like, like, you know Harrah’s, and you took the General Jackson and you made it one boat that’s what the Music City Queen is. Music City Queen was born from that like the Cumberland and is a showboat and we wanted to write about and not so good, like not so realistic or glamorous part of Nashville. So like so what better than a showboat on the on the river? You know, every time I hear that song and when B-52’s come in, I like giggle with so much joy. When he’s like it’s a show boat, baby. I’m like, This is awesome. How much more fun can you have on tape?“
“Strange is Natalie’s baby. We were sitting on the porch and she was like, I’ve got this song we have to write it. And sometimes Natalie, like, go down, she’ll go down whatever you want to go down but sometimes she shows up with like, this is what we’re doing today. And it was one of those days. And I think Strange is permission to just let go for a sec. It kind of got out there like in the verses, I felt like it was a little like out there and crazy and saying take what you will from it, you know, it means something different each person. But I was really wanting the chorus to lift, like literally and just the emotion of it. I wanted it to kind of lift and go into a happy place. I think we all felt that but it’s such a song for a time that we’re that we’re in right now. But it doesn’t feel like you know, it won’t matter in 10 years either. There’s always something weird going on, ya know? But seems like the world’s always got a weird spot that we get to. And the fact that you just like alright, let’s just have a smoke and have a drink and write a song and feel better about ourselves and the bridge we couldn’t land on a bridge so each one of us went and wrote a bridge on our own and came back and we ended up using blinds from each person’s bridge so we co-wrote that without even meaning to it was pretty cool was a fun exercise I guess. Everybody’s was different but when we took lines out of mine, Luke and Natalie’s it all fit together.”
“I’ve loved Wandering Spirit. I’d already heard it a long time ago, and thought it was so cool, you know, probably like on a playlist somewhere, like what is that? And so I knew the song existed and I knew what it was about. And I just never would have thought to like, cover it, you know, or that I could even find a way to do it my style but then once this record was this record, it was like we have to have it. You know? If it wasn’t a cover would probably name the whole thing Wandering Spirit because it just really encompassed what we were trying to do. Of course, Mick Jagger did it better.”
“I’ll Be Lovin’ You it was I think we purposefully didn’t go to a place like a physical location. We went to a heart place and this song like this big bold love song. And we have references to roses in the snow in it and you know, hidin’ your bottle in your boot and like all these cool visuals of like little details of this journey into big love. And that track is just it’s so in your face and bold and that one again we worked on that one a lot. From just acoustic work tape with John and Luke playing to like making sure we didn’t make it too big or too loud. But to get our point across that this is a huge love story. It was kind of a fine line we cut it like three or four times to get it to where it landed in the right spot. The big love was the the landing spot for the whole journey and the theme of this love song. I mean, this love story this you know these characters have been run to something or from something in this whole record. And I’ll be loving you sort of wraps it up in a bow and it’s the place we’re trying to get to is love.”
“Jukebox was one of those like, I kind of left my body writing that. Like all of us did, it just like it took us all to this place of it was nighttime to farm. And I leave string lights up all year because, obviously. And there’s string lights on the porch and it was like summer breeze and Luke had built that beautiful track the night before. We’re sitting there like listen to the crickets and like he starts that track. We’re like, oh, just took us somewhere. And this song gives me big time nostalgia feelings like somethings, there’s some sort of Brooks & Dunn done thread in it or 90s country vibes. And like the bars that I love to sing in and grew up in, in the way they’re all the visuals, the hand drawn heart on the bathroom door and the starlight on the floor from the disco ball like it just gives me this, like I see, I can sit myself at the bar and with a whiskey in my hand as soon as the music starts. It’s all the people that we see in the bars and that we are when we’re there. You know like the girl in the Levi’s dancing with all the cowboys. And the ex boyfriend that won’t come here because he knows I’m here. Like there’s all these visuals in the one stirring up her emotions in the ice with her fingertip. You just see all these people because we’ve seen it because we sit in dive bars. That’s where country music, lives and dies.“
“Writing Country Money with two guys was real fun. It was actually hard because it was such a fun title. Aaron Raitiere is like a slot machine of lyrics and the most amazing artists and writer. And I’d never written with Mikey before. And he had worked with Caylee Hammack a lot and I loved what she was doing. So I was like, yeah, this will be cool. To put Country Money over this, like punk rocking kind of track. First of all, it was very intriguing in the room. It’s like, what are we gonna do with this? Because we were picking going down the line, and there was a field like country tracks that I’m like, oh, that seems like it should make sense. But that’s too easy. Let’s stay with something harder, and we would start talking about how you make country money, like, you know, farming start there. And then Aaron was like, Why don’t they, why don’t we make them all women? And I was like, yes, you have to make them all women. So I started picturing my friends like, I started picturing like, Caylee Hammack and hurt coupe de ville with her chickens and like Ashley McBride getting out of her giant dually truck with her own cattle ranch, you know what I mean? I was like, I know these people. They may not be farming cattle ranch but they’re doing what it takes to get to the top their way. And that’s kind of what the song was about, but in a fun way. I don’t know who Country Money is gonna resonate with the most. I’m interested to play that live and see, I feel like the girls…it’s gonna be their jam kinda you know, but also think the guys are gonna be like, okay. Tip your hat, like that’s cool. Right? And writing it with two guys was so fun. Like, I felt very like honored in the room because they wanted to do that. You know?“
“If I Was A Cowboy was I, I’ve met a new friend in the last year and a half Jesse Fraser. Who’s really well, I mean, he just won songwriter of the year. He’s well acclaimed songwriter I just never we’re friends of friends, but never really hung out. And he did the remix for Tequila Does for our summer vibes and just one of those great people. And he was like, hey I have a date open you want to write today? And I was already pretty much done with writing for Palomino. But we were still cutting. And our first time to write together. He played me this really cool Country and Western track, which I loved. And I was like, that’s fun. And we wrote, If I Was A Cowboy. And it was like, beginner’s luck, I guess. Because it was first time we’d ever written together it was just us two. And I was like, man, this song fits this vibe, too. Like, it was kind of like the cherry on top, I guess. And it was something I was missing feel-wise. And so I sent it to Luke and John. I was like, I know we have a couple more days in the studio. I’d love to give this a whirl. And, you know, it really feels like the girl that singing In His Arms. This is also her song. You know? And it fit right in there. And I love that song. So you mean the whole record as a whole. It’s like seven writers, you know, and we didn’t do that for any reason, except it was a vibe and it was, we were keeping it tight because we had a vision of this map and we wanted to make sure we stayed on track.”
“We kind of knew I think Pursuit of Happiness that the journey was complete. I think pursuit of happiness was when we were all like, Okay, I think we’ve we’ve done it we’ve gone to like 36 places in this record and met you know, countless characters and different scenes, scenery and roadside stops. And, you know, like I said it’s not a concept it’s just more of a theme. It’s like a road trip thing. If I had to give someone one song off the record and just say, take a guess what this album is about? That song song sums it up. Because what we said earlier, there’s a lot of chasing going on in this record, chasing down dreams, chasing down lovers, chasing down old lives, chasing down money, chasing down happiness. So definitely, pursuit of happiness is like a good sum up of what we’re trying to do here.“
“I think Carousel’s bittersweet. I mean, there’s sweet stories in that one too Smith County is the county I grew up in, and Johnny Davis is a is a rode out by where my farm is. And we took some nuggets from our surroundings to make that song feel very real. Because parts of it are real for each of us. That was with Natalie and Luke. And I think it was one of the songs we’re writing and we’re like, oh this is this is getting somewhere. This is…ow… stuff’s happening. I’m feeling things. And I think it’s like, permission to you sort of think we were living in this moment of the string lights and listen to the crickets and writing carousel and like this moment will never happen again. And one day when it’s, you know, when I’m in my Airstream somewhere at a KOA, half retired, you don’t retire from this business, as we know, half retired, I’ll be like hearing that song. And I’ll go straight to that place. And it’s sort of permission to move to the next phase, you know, and that it’s okay, that the circus leaves town because it does at some point for everybody. It’s such a metaphor for what we do, you know, it’s the same. There’s a part of the circus that lives in us, because of what we chose to do when we bring the party to town. And then we pack it up and we take it to another town and it’s very sad. Have you ever been to like, you know, I’d stayed on the stage and see, you know, see after everybody was gone and just see like a sea of like, empty beer bottles and the wind blowing piece of trash across the lawn and amphitheater and you’re like, wow, just like 20 minutes ago. We were all in here doing this huge party together and living this huge dream. And now yhe diesel’s running and we gotta go. Like it’s kind of sad and it’s kind of beautiful. You know? When it becomes her at the end when she says I miss my Harland it’s like kills me. And even just being a writer on it, like it still kills me like I know what’s gonna happen. We made it up, but it’s still just pierces my heart every time. It’s her. Like, if you write a song that makes your own self cry, I guess we did something right.“
NASHVILLE, Tenn. – Reigning ACM Entertainer of the Year and three-time GRAMMY winner Miranda Lambert releases her eagerly awaited eighth solo album Palomino today, April 29, via Vanner Records/RCA Nashville/Sony Music Nashville. Listen HERE.
Already lauded as one of the year’s most anticipated albums prior to arrival by Vulture and USA Today , the project lyrically visits 30+ locations with countless characters along the way, as the expansive 15-song project takes listeners on a freewheeling trek from the Mojave Desert to Battambang, Cambodia and everywhere in between. Lambert serves as a co-writer on 14 of the 15 songs, with the only outside cut arriving via a rousing cover of Mick Jagger’s “Wandering Spirit.”
Variety observes that “her voice is impeccable” on “yet another rock-solid entry in one of the 21st century’s most ruthlessly consistent discographies” while Rolling Stone celebrates her as “country music’s most ambitious artist” and Yahoo Entertainment remarks, “this trailblazer once again confounds expectations and pushes musical boundaries.”
The L.A. Times agrees, noting, “Lambert’s catalog might be the most consistent of any current country star’s. But nobody has taken more chances with her sound than she has.” NPR adds that “where so many country artists are still, somehow, stuck on back roads, Lambert is speeding down the interstate” as Paste posits that her songwriting is “unparalleled in country music—and beyond.”
Pitchfork also praises the “scattershot travelogue that houses some of her best-ever songwriting” for “demonstrating the tensile strength of Lambert’s craft in all sorts of settings,” while Esquire declares that Palomino is “a stunning summary of all her strengths and styles, eclectic and cohesive and yet another step forward in a career that has stood, from day one, for creative evolution and growth” and Billboard adds, “Palomino finds Lambert at the top of her game, both synthesizing the classic tropes of country music while modernizing its sound and taking risks.”
“Palomino came together during a time when the gypsy-spirit side of me couldn’t wander,” shares the reigning ACM Entertainer of the Year. “The characters along the way, the stories and these places ended up inspiring me in ways I’ve not experienced before. I hope they spark that in you, too.”
The journey to Palomino will be highlighted this Sunday, May 1, at 9 a.m. ET / 8 a.m. CT as the first female entertainer to have a presence on Broadway visits her own Casa Rosa bar and restaurant with “CBS Sunday Morning” reporter Lee Cowan to offer an in-depth look at the new album’s inspirations and her numerous career accomplishments thus far.
That storied career nearly two decades in the making was on full display at her Nashville concert last night, where the Tennessean extolled her as “court[ing] legendary status,” noting, “At some point in a top artist’s career, their work exceeds the space of being treated as one of many great songs. Instead, their hits are elevated to being generation-defining artistic works. This moment happened on April 28 for Miranda Lambert.”
The evening also included a surprise pre-show presentation where Lambert was presented with a career-spanning plaque (photo below) honoring her abundant achievements thus far. In addition to recognizing her more than 5 billion on demand streams and over 9 million albums sold, the plaque also recognized 10 brand new RIAA certifications bringing the total Gold, Platinum and multi-Platinum certifications to more than 37,500,000 combined copies of her Vanner Records/RCA Nashville/Sony Music Nashville catalog.
Lambert will take that hugely successful catalog hits on the road along with the new music from Palomino this spring as her co-headlining The Bandwagon Tour with Little Big Town kicks off in her home state of Texas next Friday, May 6, before traveling to Las Vegas for her recently announced Velvet Rodeo residency at Planet Hollywood Resort & Casino’s Zappos Theater this September, with dates scheduled through April 2023.
About Miranda LambertAvailable everywhere now, Palomino, the eighth solo album from Vanner Records/RCA Nashville/Sony Music Nashville superstar Miranda Lambert, is the latest installment in a storied career that has spanned seven consecutive No. 1 solo albums, 10 No. 1 hit radio singles, more than 70 prestigious awards and countless sales certifications, earning the reigning ACM Entertainer of the Year praise from NPR as “the most riveting country star of her generation.”
Following 2019’s critically acclaimed release of her GRAMMY Award-winning album, Wildcard, the Texas native ushered in her next musical era with the recent release of Palomino lead single “If I Was a Cowboy” (currently climbing the Top 20 at Country radio), while also adding her voice to Netflix’s new season of “Queer Eye” with inclusive anthem “Y’all Means All.” She is set to hit the road on The Bandwagon Tour with Little Big Town this spring and will kick off her Velvet Rodeo Las Vegas residency at the Zappos Theater at the Planet Hollywood Resort & Casino in September.
In addition to Wildcard, the celebrated singer/songwriter’s lauded discography includes The Weight of These Wings (2016), Platinum (2014), Four The Record (2011), Revolution (2009), Crazy Ex-Girlfriend (2007) and Kerosene (2005). She has also released three albums with her trio, the Pistol Annies, as well as 2021’s The Marfa Tapes, a critically acclaimed and GRAMMY-nominated, raw and intimate recording with collaborators Jack Ingram and Jon Randall.
The most decorated artist in the history of the Academy of Country Music, Lambert has earned 37 ACM Awards (including the current ACM Entertainer of the Year title and a record-setting nine consecutive Female Artist of the Year Awards), 14 CMA Awards, three GRAMMY Awards, the Nashville Symphony Harmony Award, ACM Gene Weed Milestone Award and ACM Song of the Decade Award, plus was named 2019’s RIAA Artist of the Year. She is the youngest artist ever to serve as the Country Music Hall of Fame & Museum’s Artist in Residence, joining a legendary list of predecessors including Kris Kristofferson, Guy Clark, Tom T. Hall, Jerry Douglas and more.
Her clothing and cowboy boot collection, Idyllwind, is a private-label brand sold at all Boot Barn stores nationwide. For more information, visit www.idyllwind.com.
Lambert’s MuttNation Foundation, a 501c3 nonprofit has raised over $6 million since its inception in 2009. The Foundation’s mission is to promote the adoption of rescue pets, support animal shelters across the country, advance spay & neuter and assist with the transport of animals during times of natural disaster. For more information, visit www.muttnation.com.
Palomino Track Listing
(songwriters in parentheses)
1. Actin’ Up (Miranda Lambert, Luke Dick, Jon Randall)
2. Scenes (Miranda Lambert, Luke Dick, Natalie Hemby)
3. In His Arms (Miranda Lambert, Jack Ingram, Jon Randall)
4. Geraldene (Miranda Lambert, Jack Ingram, Jon Randall)
5. Tourist (Miranda Lambert, Luke Dick, Natalie Hemby)
6. Music City Queen feat. The B-52’s (Miranda Lambert, Luke Dick, Natalie Hemby)
7. Strange (Miranda Lambert, Luke Dick, Natalie Hemby)
8. Wandering Spirit (Mick Jagger, James Rippeto)
9. I’ll Be Lovin’ You (Miranda Lambert, Luke Dick, Jon Randall)
10. That’s What Makes the Jukebox Play (Miranda Lambert, Luke Dick, Natalie Hemby)
11. Country Money (Miranda Lambert, Aaron Raitiere, Mikey Reaves)
12. If I Was a Cowboy (Miranda Lambert, Jesse Frasure)
13. Waxahachie (Miranda Lambert, Jack Ingram, Jon Randall)
14. Pursuit of Happiness (Miranda Lambert, Luke Dick, Natalie Hemby)
15. Carousel (Miranda Lambert, Luke Dick, Natalie Hemby)
Produced by Jon Randall, Luke Dick and Miranda Lambert
Additional Production by Mikey Reaves on “Country Money”
Liner notes available for download HERE.
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