reba-revivedQA – Credit: Paul Natkin / WireImage

Reba McEntire may be known as a country music traditionalist, but she paid homage to a wide range of influences on the 1995 cover album Restarting, including a faithful version of “You Keep Me Hangin ‘On” by Diana Ross & the Supremes. Thanks to a remix of the same song by the production trio Love to Infinity – which replaced Motown’s familiar footing with slamming, popping drums and touches of soulful house music – McEntire turned heads in Nashville and earned his only career chart hit. American dance music.

“It was new, especially for the country, especially for me,” said McEntire, 66. Rolling stone.

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“You Keep Me Hangin ‘On” Remix Fits Comfortably On The Second Disc Of McEntire’s New Three-Disc Collection Revisited Remixed Revisited, which offers 30 variations on some of his most famous songs: Resurrected uses McEntire’s stage group to capture the way she performs songs like “The Greatest Man I Never Knew” and “You Lie” in a live setting; Remixed features dance covers by Dave Audé, Ralphi Rosario and trans producer Lafemmebear; and Revisited puts McEntire in the studio with producer Dave Cobb for stripped-down and intimate renditions that include the first duo between McEntire and Dolly Parton.

” I sang for she, she sang for me, but we never did a duet together, ”says McEntire. “I was so glad she said yes.”

When McEntire kicks off his headlining tour in January 2022, it will be almost two full years since his last tour in March 2020. This time around it will inevitably be different from before, but McEntire is confident in how which they give priority to safety. for a successful hike. “We take every precaution possible, making sure the vaccines are where they need to be,” she says. “And also, we’re eliminating backstage passes. Our main goal is simply to keep everyone safe and healthy. “

What were the criteria for a song to be included in Revisited Remixed Revisited?
Basically what we would do is do a favorite song poll. At first when we thought about that, I wanted to do songs on albums that were never singles. You have an album of 10 to 15 songs… After three or four singles, the record company would say, “Hey, you have to release a new album. Because of the real estate in the record stores, you have to keep releasing the product. It was like that before. There are a lot of songs on these albums that I know could have made great singles. That’s what I wanted to do, and they said, “Well, no, we want to do something that the fans know better,” so we went with the Number One records.

You recorded with Chris Stapleton producer Dave Cobb on the Revisited disk. How was working with him different?
You didn’t have 15 people in the studio. It was about five or six musicians. And Dave’s idea is, “When she sings, everyone backs up, backs up, gets out of their way.” We all went there together, sang and had fun. It was just very relaxed – that’s the best adjective I can use for Dave Cobb sessions.

In 1996 you released a remixed version of your cover of “You Keep Me Hangin ‘On”. Was this your first time ordering a remix?
To my knowledge, yes, it was the first.

Were you into dance music at all? Did you pay attention to it?
Not at all. When they came to me and said, “We’re going to do a dance mix on this,” I agreed, because it was a song by Diana Ross and the Supremes, so it made sense. But then when they wanted to do a dance mix of “I’m a survivor”, I was like, “What? Are you all sure? And they sent it to me, and I was like, “Yeah, this will work!” I don’t know how the fans will react to this, but so far people who have listened to the dance mixes love them.

Have you been involved in the remix process?
They would send them to different people and come back and play it for me. And either I said, “I don’t like it” or “It’s perfect” and then I sent it back to them and they fixed what I didn’t like, and kept what we all liked. It was good teamwork and I applaud these people who do that, I don’t know how they do it – it must be very tedious and time consuming.

I have seen many drag performances on “Fancy” and “The Night the Lights Went Out in Georgia”. What is the crucial thing one needs to properly impersonate Reba?
You must have red hair [and] you have to have the red dress, especially if you want to do “Fancy”. And most of them are doing “Fancy”!

“Fancy” is the only song that appears on all three discs. Why do you think people keep responding to them?
It’s a great song. Bobbie Gentry wrote it and had a number one song on it in 1968. A good song is timeless, it has the basis to last forever. And I love the songs and stories of rags to wealth – it’s like Cinderella, Annie takes your gun, I love that. And the fans love it too. He has an attitude, he has a heart and a story, and survival.

Have you heard the version of “Fancy” that Orville Peck released on his EP?
I thought it was awesome. I don’t think I would have appreciated it so much if it had been like mine or Bobbie Gentry’s, so it was different and I liked it.

What motivates you to keep recording and making new music?
I like to do it. There are always more great songs to sing. A great thrill is finding a song that you absolutely fall in love with the first time you hear it. You can’t wait to sing it, you can’t wait to make it your own, you can’t wait to go into the studio to record it, to put it on tape. It’s a huge excitement for me.

When was the last time it happened?
The last time I went to the studio, because every song I record, I love it so much.

I was surprised to hear your name appear in an episode of Ted lasso. How did you feel about it?
Me too! I was sitting there that night, my dog ​​and I were on the couch, and [Roy Kent] said, “I believe you have a ticket for Reba McEntire.” I went, “Oh my God!” I love this show. I absolutely love it. We have to go to Facebook and Instagram to talk about it. And when Ted lasso won for the Emmy, I said, “Hey guys, congratulations! Sorry, I couldn’t get in. Someone didn’t leave me a ticket at the ticket office, [hashtag] Roy Kent. It was fun to go back and forth. This show has heart.

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