Yep Roc Records re-releases Iris DeMent’s iconic third album on its 30th anniversary – and it sounds better than ever!
So, following on from the 30th Anniversary release of Iris DeMent’s album My Life, very nicely documented by Andy Short here in late 2024, Yep Roc are doubling up with a 30th Anniversary release of her third album, The Way I Should, in remastered form on vinyl and CD. One should seriously consider re-listening to this extraordinary record, as it divided opinion upon release, as DeMent took to exploring political themes in it that were not explored in her first two, equally extraordinary albums, and ramped up the production somewhat. The ‘extraordinary‘ moniker to describe these three albums is not just because of the lyrical content or the wonderful backing and arrangement, but, of course, because of her unique voice and vocal styling.
DeMent was born on January 5, 1961, in Paragould, Arkansas, the 14th and youngest child of Pat and Flora Mae DeMent. This is important because her family life effectively provided the template for her later lyrical ventures. Her father lost his factory job after a failed attempt to unionise, and the family hit hard times, sold the farm, and moved to Buena Park, California. DeMent attended Pentecostal church there, imbibing the same type of music as previously in Arkansas, which formulated her musical stylings in later life – blue-collar, Gospel-infused.
Her path to music was not as clear-cut as might be expected. DeMent dropped out of school, left home at 17, and toured the country working a variety of jobs. By the time she was 25, she was living in Topeka, Kansas, where she wrote her first song, Our Town, inspired by impressions of a downtrodden, backwards town in the Midwest.
During the making of her first three albums, she was married to Elmer McCall, who contributed co-write credits to two of the songs on The Way I Should, but by 1999, they had divorced after 8 years, before she met and married the esteemed singer-songwriter, Greg Brown. This upheaval in her life may have been the reason for a long gap from her third album to the fourth, Lifeline, in 2004. But she has never been particularly prolific, as there were 8 years between Lifeline and Sing the Delta in 2012, and then 8 years from The Trackless Woods in 2015 to Workin’ on a World in 2023.
But back to the remastered The Way I Should, the third in a trio of quite outstanding albums, notwithstanding the political element to it, and its more polished production compared with the acoustic and folksy predecessors. It kicks off, as you may remember, with one of DeMent’s most stunning songs, When My Morning Comes Around, which, when played again after a ‘bit of a break’, brings tingles to the spine. Driven by an outstanding piano intro and backing, DeMent’s voice enters, suddenly more powerful than much that went before, a soprano with a unique twang, and a mournful ‘cry’ that is used to great emotional effect. Now it has to be said at this stage that DeMent’s voice is something of an acquired taste. This writer acquired that taste from her very first song! The opener on this album speaks to self-forgiveness, overcoming life’s obstacles and hoping for peace “When my morning comes around, from a new cup I’ll be drinking / And for once I won’t be thinking / that there’s something wrong with me / And I’ll wake up and find that my faults have been forgiven / And that’s when I’ll start living, when my morning comes around“.
The politics start at track two: There is a Wall in Washington, a tribute to the Vietnam Veterans Memorial, looking at sacrifice and loss. On track three, the rocking Wasteland of the Free, are some of DeMent’s most biting, poignant, and prophetic lyrics about Government corruption, attacks on the working class, and the wealth gap. Astonishingly relevant today, considering it was written more than 30 years ago, it divided opinion more or less along party lines when it came out.
At this stage it is worth noting the production of the album, heavier in tone and electricity, courtesy of Randy Scruggs who replaced Jim Rooney: the session musicians are absolutely top class, too numerous to mention but one should pick out Tammy Rogers on fiddle, violin, cello and mandolin, Paul Franklin, on steel guitar, Chuck Leavell on organ, accordion and piano, Steuart Smith on electric and slide guitar, Dave Pomeroy on bass and Harry Stinson on drums. Mark Knopfler does a tasty turn on National guitar on the gently swinging title track, about the kind of people we aim to be.
While digging deep into political statement and exploring self-forgiveness and growth, DeMent also finds time to be happy and the slow ballad This Kind of Happy (a co-write with Merle Haggard) addresses that feeling, but introspection returns with the jazzy gospel song Keep Me God, where she examines her religious faith, or the jaunty waltz Quality Time, where the new concepts of modern family life in America are explored, or even the stately piano ballad Walking Home about the slow drift from childhood memories to mortality: “Once again I hear my mother’s voice / And all us kids making a bunch of noise / If I’m not careful I might start to cry / Just walkin’ home tonight”. And I’ll Take My Sorrow Straight (co-written with her husband) is a straightforward country swing, with outstanding contributions from Rogers and Franklin. On listening again to the album, though, the standout instrumental contribution is from DeMent’s piano, which dominates on many of the tracks.
The most devastating song on the album is no doubt the honky tonk Letter to Mom, where sexual abuse is revealed amid the lifelong shame attached. Fortunately, for the terminally depressed, the album ends on a rather upbeat note on a blues duet with Delbert McClinton, with his searching harmonica; Trouble is another co-write with her husband. Who knew DeMent could sing the blues like this? This is quite a joyous offering (notwithstanding the title), and it bounces along with Lonnie Mack on guitar and Leavell on rollicking piano. It is almost a fun song to conclude an album of outstanding songwriting and musicianship, and for those who might not be aware of its existence (and for those who had forgotten), this album is essential listening and should be on a true americana fan’s record shelf. Thanks to YepRoc for reminding us of this remarkable record (https://irisdement.lnk.to/thewayishould)
