14 Songs, 49 Minutes

EDITORS’ NOTES

As Trisha Yearwood’s first album of new material in a dozen years, produced by her longtime studio partner Garth Fundis, Every Girl serves as a reminder of the breadth of her abilities and the strength of her voice—an instrument that blends honeyed luxury and unaccented simplicity. She brings both emotive force and knowing finesse to adult contemporary ballads like the liltingly nostalgic “Home,” “Tell Me Something I Don’t Know” (featuring harmonies from Kelly Clarkson), and “Love You Anyway,” a vow of devotion that reunites Yearwood with her old singing partner Don Henley. She’s sly and teasing during the roadhouse boogie “Something Kinda Like It” and summons down-home dignity during “Bible and a .44” and bruising fervor during the Spanish-tinged singer-songwriter tune “The Matador.” The title track also returns her to familiar territory—depicting womanly strength that's not diminished by gender roles and expectations—at a time when such messages also speak to the plight of a new generation of female performers striving to carve out their places in the country format.

EDITORS’ NOTES

As Trisha Yearwood’s first album of new material in a dozen years, produced by her longtime studio partner Garth Fundis, Every Girl serves as a reminder of the breadth of her abilities and the strength of her voice—an instrument that blends honeyed luxury and unaccented simplicity. She brings both emotive force and knowing finesse to adult contemporary ballads like the liltingly nostalgic “Home,” “Tell Me Something I Don’t Know” (featuring harmonies from Kelly Clarkson), and “Love You Anyway,” a vow of devotion that reunites Yearwood with her old singing partner Don Henley. She’s sly and teasing during the roadhouse boogie “Something Kinda Like It” and summons down-home dignity during “Bible and a .44” and bruising fervor during the Spanish-tinged singer-songwriter tune “The Matador.” The title track also returns her to familiar territory—depicting womanly strength that's not diminished by gender roles and expectations—at a time when such messages also speak to the plight of a new generation of female performers striving to carve out their places in the country format.

TITLE TIME

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