Amazon.com essential recording

"Appalachia circa 1907" is the way they described it in the postgame interviews. It wasn't, of course, but it was as close as you could come in 1987 and still hope to sell the million copies that this ended up selling. The "Three Tenors" of country music juggle leads, complement each other to often haunting effect, and subjugate their egos to a greater cause. The songs run the gamut from primordial country favorites like "Rosewood Casket" and "Hobo's Meditation," to '50s pop (a rather anomalous "To Know Him Is to Love Him"), and mainstream country. The instrumentation is restrained, the vocals areunfailingly lovely, and the result is a trio that is more than the sum of its parts. --Colin Escott ... Read more

Reviews (30)

Best traditional country album ever recorded
I remember hearing in 1977 that Dolly, Linda and Emmylou planned to record an album together but I was very surprised when it actually happened ten years later after several false starts. It was certainly worth the wait - indeed, I think it is the finest album that any of them have recorded, separately or together. Given how highly I rate so many of their solo albums, that is saying something special.

Some of the songs may be familiar. To know him is to love him is an early Phil Spector song, which was a huge hit in the fifties for the Teddy bears and was successfully revived in the sixties by Peter and Gordon. Both of those versions pale by comparison with the version here.

Making plans is a Johnny Russell song that Dolly previously covered as a duet with Porter Wagoner. They had a number two country hit with it, only being blocked from the top spot by Old flames can't hold a candle to you, a solo single by Dolly.

The pain of loving you, written by Dolly, is another song previously recorded as a duet by Porter and Dolly. Farther along is a gospel standard. It shares the same tune as Green pastures, a song that Emmylou recorded for her Roses in the snow album. My dear companion is a song by Jean Ritchie, who has written several great songs. Rosewood casket is a traditional song of unknown origin. Hobo's meditation is a song from the pen of the singing brakeman, Jimmie Rodgers. Wildflowers is a song that Dolly wrote about leaving her mountain home in a quest for success. Those memories of you is a cover of a hitherto little-known bluegrass song. Telling me lies and I've had enough are also brilliant.

Any fan of traditional country music should listen to this, the best such album I've ever heard or am ever likely to hear.

Dolly Parton's Best Album. Country Music at it's best.
Saturday, September 05, 1998

The Trio Album was and is great. I bought it as soon as it came out for I intuitively knew it would filled with wonderful music.

I heard the "Grand Ole Opry" the next Saturday night after purchasing and listening to the "Trio" album. There were accolades from many all time great country music singers for this Dolly Parton Trio Album. Hank Snow had great praises for Hobo's Mediation., a great song on the Trio Album. And Hank Snow was probably the greatest fan of Jimmie Rodgers, the man who wrote this wonderful song.

The Wilburn Brothers had great Praise for "Making Plans," a song they recorded back in the late 1950s. The great Osborne Brothers Blue Grass band recorded this song, "Making Plans,' in the late 1960s also. It is a very soulful love song, and Dolly Parton and her helpers do such a wonderful job on this song.

All songs on the "Trio" Album are great. They are the essence of the best true country music of the past, and show the depth of Dolly Parton, when it comes to her musical ability. Only someone with her great ability and appreciation for the art form of real life country music could have known these songs existed and would have recorded them for posterity. They are true folk songs, her "Trio' songs, though the so called experts might not consider them real folk songs, and music. The so-called experts are city boys who don't really know what true folk music is. Only when you great up on a farm where there was no electricity, no gas stove, no telephone, could you have the cultural background to be in touch with what rural America was like before the advent of high technology. Dolly Parton was raised under these rural conditions, and she is a musical great, if not genius.

I think it wonderful that Dolly Parton recorded these songs, with Linda Rhonstat and Emmy Lou Harris. She had the popularity to be able to record such songs as "Rosewood Casket," which has lived for probably more than a hundred years, and is definitely not a commercial piece of music, but is instead the feelings of those who lived in the rural backwoods areas and lost someone they loved. As a child, in a rural backwoods area, I can remember this song being almost worshipped as a great piece of music.

For those who want to know what real country music is about, this is the album to buy. You can get no higher quality music than the "Trio" Album.

Dolly Parton took 9 months to record these songs. She wanted perfection, and she got it. The Great Studio Men play only acoustic instruments on this recording. This album is wonderful Country Music.

By Dobroman in Denver Colorado

To know them is to love them
Dolly, Linda and Emmylou teamed up to sing vocal harmonies on traditional country style songs. The arrangements are good and they sing well together. But for some reason, I only found it to be moderately entertaining. I know I should love it, and I can't explain why I don't. Please don't hate me.

Perfection
If ever there was perfection in ensemble vocals, it is in the recording TRIO, which finds Emmylou Harris, Dolly Parton, and Linda Ronstadt throwing off the shackles of stardom and creating an overall sound that completely transcends their individual sounds. On this recording, decisions have been made more on the basis of vocal suitability rather than on star power, with the opening "The Pain of Loving You" a case in point. Originally written by Dolly Parton and Porter Wagner, this would seem an obvious selection for a Parton lead vocal--but here the lead is supplied by Emmylou Harris, with Parton and Ronstadt providing flawlessly blended backups that avoid overshadowing Harris' less authoritative singing style.

Throughout the recording, the artists play a sort of musical round robin, each taking the lead in turn and each serving the other vocalists with perfectly placed support--with no one artist overshadowing the other, all three speaking with the same musical intent. It is a truly remarkable accomplishment made all the more so through its complete simplicity: there are no complex vocal arrangements, no fussy instrumentals, no studio tricks. This is musicianship pure and simple and flawless in execution.

After a memorable "Making Plans," on which Parton assumes the lead, the ladies move into what is possibly their single most remarkable cut: a country-tinged version of the memorable 1950s pop hit "To Know Him Is To Love Him," in which their voices blend and merge to such a degree that it becomes impossible to say which vocalist has assumed the dominate role in the production. Linda Ronstadt comes to the fore with the 1930s Jimmy Rogers tune "Hobo's Meditation" and a remarkably powerful "Telling Me Lies" and "I've Had Enough;" Parton provides understated and lovely leads on the self-authored "Wildflowers," the slightly bluesy "These Memories," and the traditional "Rosewood Casket;" and Emmylou Harris gives a remarkable beautiful lead on the haunting "My Dear Companion."

While it is extremely difficult to select a favorite from this recording, if pressed I would give my favorite as the closing "Farther Along," a traditional country gospel tune that features each of the ladies in turn to truly remarkable effect. But it is all good. TRIO is goose-flesh music: so perfectly done that each selection in turn makes the hair stand on the back of your neck. You'll not find finer music this side of heaven, and if the angels really do sing in paradise, this is the sound they make. A truly rapturous, miraculous recording that deserves much greater recognition than it has to date received; strongly recommended.

GFT, Amazon Reviewer

TRIO IS A TRIPLE DELIGHT
The collaboration of Dolly Parton, Emmylou Harris and Linda Ronstadt is one of life's true pleasures, making TRIO a very special album. The simple, down-country tunes are easy listening, and inspire you to either hum or sing along. Personal favorites are, "Making Plans", Hobo's Meditation", "Telling Me Lies" and "Those Memories Of You." And there are many fine memories to be had from this album. Although one song is titled "I've Had Enough", you won't feel that way as the album draws slowly to a close. In fact, you'll feel like little Oliver Twist saying "More, please!" TRIO is a triple delight. Indulge yourself! ... Read more

Reviews (2)

Life's a Ride
People struggle with a classification for Donna the Buffalo, so here goes mine: An eclectic jam band that writes excellent songs and is fun for the whole family.I "discovered" Donna the Buffalo about three years ago when I stumbled across a review of a show on the internet.I have been a great fan ever since and my enthusiasm for them spread to my wife and two daughters.Donna the Buffalo introduced me to musical forms that I was not real aware of (old time music and zydeco) and now love, as well as some musical instruments you don't normally hear in a rock band (accordion, fiddle, rubboard)."Life's a Ride" was eagerly anticipated by Donna fans and does not disappoint.The songs areexcellent but there is a lack of an extended jam that you would hear at a live show.That's really nit-picking though because I love the album.My favorites are "Blue Skies", "Rockin' Horse", "Life's a Ride", and "Everyday".Check out the album, but see them live if you want a real treat, they particularly shine in the summer festival season.

Life's a Dance Party!
For the last twenty years or so, Donna the Buffalo has been playing some of the most sincere, heartfelt, and giddy music to come out of any genre. And that's not to say that they have a one particular genre of their own: quite the contrary - not even the most rigid categorist could pigeonhole this Trumansburg, N.Y. sextet. Joyfully, they make us dance to the sounds of rock-a-billy, zydeco, reggae, roots, bluegrass, blues, and countless others.
I grew up in the Fingerlakes region of Upstate New York, in theland where Donna the Buffalo formed and quickly gained legions of faithful back in the mid-eighties: a time when most folks were chanting the mantra "me, me, me" - Donna the Buffalo started making music that said - and made everyone else say - "us, us, us." Their music is communalistic and loving, but far from corny idealism. And weather they are playing for a small crowd of a few hundred, or a large festival of many thoousands, it always feels like a mid-summer backyard get together with your closest friends.
Donna's newest album, "Life's a Ride", is a joyous continuation of what all of us Donna fans - old and new - have been enchanted by for years: shameless positivity, hypnotizing groove, and the uplifting of the human spirit. Try not to grin and abandon all pretense during "Way Back When" or "Blue Sky" - or the Zydeco of "Walk on Water". On the mellow side, "Rockin' Horse" is sure to be a new Jeb Puryear classic.
If you're new to Donna, you can't go wrong starting with any of their CD's (although I particularly reccomend Live from the American Ballroom). They are all perfect examples of the love and joy that this band exists to fill us with.
... Read more

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Appalachian Stomp is an ideal starter disc for those just beginning to explore bluegrass. Mostly this is because its 18 selections are so immediately accessible. The "classics" here, in other words, are usually those infrequent bluegrass cuts to have gained radio recognition beyond a core bluegrass audience. That explains why along with timeless standards such as Flatt & Scruggs' "Foggy Mountain Breakdown" and the Osborne Brothers' "Rocky Top" we also get "Dueling Banjos" from the film Deliverance, a cut that is to classic bluegrass what Walter Murphy is to Beethoven. There are less immediately obvious choices too, though. If your previous exposure to bluegrass doesn't go beyond the Holy Trinity of Bill Monroe, Flatt & Scruggs, and the Stanley Brothers--for example, if you've never heard J.D. Crowe & the New South's stellar example of progressive bluegrass, "Old Home Place," or experienced Jimmy Martin lay down the law on his rousing "You Don't Know My Mind"--then you're in for a high-lonesome surprise. --David Cantwell ... Read more

Reviews (9)

The grass is always bluer on the sunny side of the hill
To my way of thinking, bluegrass music is doing its job when it gets your hands and feet to moving and puts your mind on simple, bygone things you recollect, if you're lucky, or must pine for in vain, if you were born too late (like me). Leave it to Rhino Records to come out with a bluegrass sampler that fits the bill to a Model T, mixing bluegrass tunes that have found a fond place in our collective psyche with less familiar (to newbies, anyway) archetypes of the form. Unlike another bluegrass sampler I own, the dreary and redundant "Bluegrass Essentials," "Appalachian Stomp" is as happy and carefree as your best-ever barefoot-summer day. I mean, only a person that's six feet under wouldn't be beguiled by The Osborne Brothers' catchier than poison ivy "Rocky Top" and Sonny Osborne's astounding, mile-high vocal.

"Stomp's" appetizer tray of songs familiar from movies ("Foggy Mountain Breakdown," "Dueling Banjos") and TV ("Dooley," "The Ballad of Jed Clampett") will prime your palate for the main meal, a heaping helping of hard-core high lonesomeness by bluegrass immortals Bill Monroe, Jimmy Martin, The Stanley Brothers, Del McCoury, et al. All the old-timey stuff is plumb dee-licious. Sampling more recent vintages, J.D. Crowe and The New South's cover of The Dillards' "Old Home Place" is pretty good (although the original is superior), but I'm still trying to puzzle out the appeal of bluegrass darling Alison Krauss ("Love You in Vain"). She's cute as a button and sure-fire talented, I'll give her that, and she sounds an awful lot like Dolly Parton. You can work that last observation into a compliment, too, if you'd like.

The collection's most (in)famous cut may well be "Dueling Banjos," by Eric Weissberg and Steve Mandell, from the 1972 film "Deliverance." For better or worse, Weissberg and Mandell's calculatedly commercial, radio-friendly guitar vs. banjo arrangement remains the best known one in the song's storied history. The tune has been around, in various forms, since 1889, when it was known as "Banjo Reel." By the 1950s, the tune had metamorphosed into "Feudin' Banjos" (a dual banjo duel between Don Reno and Arthur Smith) and Carl Story's "Mockin' Banjo." An exceptional banjo vs. MANDOLIN version of the song, "Duelin' Banjo," appeared on 1963's "Back Porch Bluegrass," The Dillards' debut album, and later became the basis of a frivolous lawsuit by Arthur Smith, who claimed the band had ripped off "his" song.

Great introduction to traditional bluegrass
Bluegrass music has seen an upsurge in popularity recently. Dolly Parton, Alison Krauss, Steve Earle, the O brother soundtrack and the various O sister compilations have all contributed. However, while some of that music is traditional, much of it is a modernised form of the music. Nothing wrong with that, of course - bluegrass, like every other form of music, must modernise or die, and some of it is pure magic - but this compilation draws on the roots of bluegrass, containing many old classics, especially from the fifties, sixties and seventies.

Bill Monroe invented bluegrass and his original version of Uncle Pen opens this set. It was later covered by Ricky Skaggs, himself represented by Little cabin home on the hill, a cover of another Bill Monroe song. Bill puts in another appearance here with his version of Blue moon of Kentucky - a song that was covered by Elvis.

Foggy mountain breakdown became famous after its use in the 1968 movie, Bonnie and Clyde. Flatt and Scruggs originally recorded it in 1949 and it is that original version that is on this set.

The Ballad of Jed Clampett was used as the theme for a TV series, The Beverly hillbillies. When released as a single, it topped the country charts.

Rocky top was written by Felice and Boudleaux Bryant, famous as songwriters for the Everly brothers (who eventually recorded the song for their Pass the chicken and listen album). It was a country hit for both Lynn Anderson and the Osborne brothers. Lynn's version was the more successful, but it is the Osborne version that is included here - rightly, as this is a bluegrass collection.

Duelling banjos was a huge American pop hit after its use in the movie Deliverance. Other bluegrass classics here include Orange blossom special and Roll in my sweet baby's arms.

This is an excellent collection of bluegrass music, ideal as a sampler of what bluegrass used to be like. If you enjoy modern bluegrass and you're not familiar with the oldies, this is the best way to find out. And just to provide you with something familiar, an early Alison Krauss track is included right at the end.

Wonderful Mix of Bluegrass Songs
I just received the CD this week and I'm already addicted.

The liner notes give an excellent overview of the history of bluegrass, relating the songs on the album to the various stages of the development of the genre.

If I could give it more stars, I would!
This is a great collection of Bluegrass if you want some of the most famous pieces. It has a good collection of artists, and is just simply wonderful! I also recommend the second CD in the series, which does not have as many of the "famous" pieces, but includes some real classics for folks who have listened to a good deal of bluegrass. I grew up listening to this music, and had not had many CDs of it, just records-so I was ecstatic to stumble across this. Buy it if you can, it is an excellent price and an outstanding CD!!

A Great Collection of Bluegrass Tunes AAA+++
Hey bluegrass fans, this is a must have for your music collection. I liked every song on it, in fact every time I play it, I have to go get my mandolin and play along. It's a fun upbeat recording thats guaranteed to make you tap your toe! ... Read more

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Though Bob Dylan and Woody Guthrie have long served as the major musical touchstones for veteran folk-rocker Jimmy LaFave, the shimmering atmospherics of this release's title track suggest a chicken-fried Van Morrison, while the reckless rock 'n' roll of "Music from the Motor Court" conjures comparisons to a renewed Jerry Lee Lewis. From the delicate balladry of "Rain Falling Down" to the Jack Kerouac homage of "Bohemian Cowboy Blues," LaFave remains an uncommonly emotive vocalist, with his tremulous tenor always on the verge of a soulful sob. But where his voice has long been more memorable than much of his original material, he establishes himself here as a songwriter of maturity, reflection, and range. The arrangements are as subtle as the musical backing is superb, putting the focus on LaFave and the way that his voice enhances his songs of all-American wanderlust. --Don McLeese ... Read more

Reviews (3)

Why haven't I heard of this guy before now?
I came across Blue Nightfall by Jimmy LaFave while drilling through Amazon's new release list of CD's.Well a listen to the sample cuts of this CD and I was hooked.BLUE NIGHTFALL is my first introduction to the singing and songwriting of Jimmy LaFave and I am hooked. At times a bit reminiscent of Steve Forbert the CD none the less grabs the listener. I see he has 7 CD's out and is featured on one compilation CD.This is just a wonderful CD.Almost every cut hits home.The opening tune Revival harkens to that dark night of the soul we all come to from time to time.I also liked River Road, the title cut Blue Nightfall, Shining On Through, and I Wish For You.My only negative comment is that even though they are great tunes, the up tempo cuts, like Music From The Motor Court and Gotta Ramble seem out of place, and not of the mood of this CD.All and all though a great CD.

Subtle Grace
Jimmy Lafave has always had something special.A soft, romantic eye that anyone with a heart can recognize but most of us never fully articulate.Also, a whole lot of fun as a timeless rocker who won't be held back when it's time to let loose and play.
Everything Jimmy has done has had spirit, and an individual voice that should stand with anyone who has ever dared to reveal his true self for the sake of his art and the joy of the rest of us.What this record gives the world is that artistic spirit in full mature form.The subtlety of expression is astonishing for any one of us who has waited for Jimmy's next work.For any new listener interested in the art of simple, honest songwriting, I can't think of any stronger recommendation.

Unforgettable...Pure Soul-Soothing Pleasure
Once you've heard this album, you will not be able to get the stirring, almost hauntingly lyrical, voice of Jimmy Lafave out of your head.I once read an editor describing Jimmy as "the greatest voice you never heard."Don't keep missing out...Jimmy's ballads and incredble voice will delight your soul beyond imagining.

... Read more

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Wilco's de facto frontman, Jeff Tweedy, sports a colorful past, one where he wrote paint-peelers dedicated to late Minutemen founder D. Boon as a member of the feted (and maybe fated) Uncle Tupelo and where he dolefully crooned Woody Guthrie lyrics on 1998's Mermaid Avenue. But Wilco's Summer Teeth shows hardly a tatter of Tweedy's herky-jerky postpunk intensity or the agrarian rootsiness that so often came in the past from him. Instead this layered album spreads its digits far into guitar-heavy Britpop, with full-group backing vocals carrying bouncy choruses and synths whistling over the melodies. The tunes sound like a crosshatch of orchestral plans and an execution drawing on Alex Chilton and Big Star, the Kinks, and, only distantly, Wilco's debut, A.M. "We're Just Friends" and "Via Chicago" stand as harmonized twists on ballad formulas, the latter recalling Mermaid Avenue's "California Stars" with the opening line, "I dreamed about killing you again last night / And it felt all right to me." So it's not always uplifting or cheery, but it's got dozens of surprises in a mere 15 songs. --Andrew Bartlett ... Read more

Reviews (167)

A Musical Explosion
Wow. That's all you can say about 'Summerteeth' after you listen to it for the first time. Being a longtime fan of the band, I was excited when I had first heard about this album. While I first heard Wilco on 'AM', I had not really grown to like them until 'Being There', a rich, diverse album that showed the band ready to grow in new directions. Looking back, it seems the band was merely streching it's muscles. Tweedy takes Wilco to new heights here, demonstranting, once again, while the band is so important right now. Instead of focusing on radio friendly music, the band continues to refine the experimentalism of 'Being There', which results in a whole new catalouge of rich, atmospheric work. From the opening track of 'Can't Stand It' to the lushness of 'Pieholden Suite" to the power of 'Nothing'severgonnastandinmyway (Again)', this album marks the new Wilco, with only the faintest glimmer of Uncle Tupelo in their work. While I loved 'Yankee Hotel Foxtrot' for the continued experimentation, for people who just want a great album and do not desire to explore the band, this is the single ablum to get.

It had to have been made
Upon "Summer Teeth"'s release in 1999, Wilco had been playing the stripped-down, folk-tinged rock card to excess. Their two previous albums, the unnoticed "A.M." and the poppier double-album "Being There", were good, but hardly distinguishable from frontman Jeff Tweedy's first band, the seminal Uncle Tupelo. The songs off the first two releases were, for the most part, good to exceptional, but the country-esque lullaby production was getting rather redundant. Here, it seems, multi-instrumentalist Jay Bennet's pop influences have more presence. By using a more Brit-pop approach to their catalogue here, Wilco created their first masterpiece album.
It's surprisingly consistent, too. From the organ-driven first track "Can't Stand It" to the Kinks-like hidden closer "Candyfloss" everything here is outstanding. Even the folk songs like "She's a Jar" and "We're Just Friends" (the former of which is Wilco's best lyrical song to date) seem to have a new life when put into this masterful collection.
After this came Wilco's finest hour, the Amazing "Yankee Hotel Foxtrot", and by listening to "Summer Teeth" it's not difficult to see where they were headed.

Apex Versus Turning Point versus Evolutionary Progress?
This was the first Wilco album I listened to, and (cliche, I know) was quite blown away. I was giddy for three days. Now I've been a shamelessly obsessive Wilco fan for 5 years or so, and can better digest what this album represents. Take the defining alt-country band Uncle Tupelo, launch a spinoff with Tweedy as frontman, Tweedy takes over, steers the band to ever more progressive obtuse pop. This is the first album where that direction was clear: the irrevocable departure from straight ahead roots rock towards an unknown realm of experimentation (though their latest work remains unapologetically listenable, unlike much of the other stuff promulgated by the likes of Captain Beefheart). Here we still see fairly simple country based ditties, but even in these is visible the desire of Tweedy and company to get a little darker, scarier, more surreal at times. There are upbeat rockers aplenty (Shot in the Arm, Can't Stand It) but listen to the lyrics and you'll see they're well beyond boymeetsgirl. There are breezy country-rock styled riffs, but again, scratch the surface and you'll hear Jeff Tweedy singing about growing old, fighting loneliness, etc. Bonus track Candyfloss is a shameless Beach Boys raveup, pure hyperglycemic pleasure. My two favorites are quite dark: She's a Jar (somehow it's about physical abuse and pervasive disappointment, though the lyric is a bit obtuse at times)and Via Chicago (darkest imagery, powerfully presented).
Even with the breakthroughs of Yankee Hotel Foxtrot and A Ghost is Born (their two subsequent albums) Summerteeth remains my favorite. The next two continue to depart from the pop mainstream while remaining quite accessible; Summerteeth was closer in, more comforting, more satisfying in a very basic way.

the greatest pop album ever made
Poetic lyrics, excellent production, wonderful melodies, truly the best album I have ever heard and one I cannot go a week without listening to at least once. If the beatles could have made one more album and brian wilson produced it, it might sound like summerteeth. Just go buy it, words cannot describe how great an album it is.

Great Great Great Disc
What do you say about one of our generation's most defining albums when no one has heard of it? The music, lyrics, and that undefinable edge of this album rank it as an all time classic, but few critics would rank this in their top picks. The reason is simple: Wilco's success has always been limited to intelligent discerning individuals looking for great music-not the next big thing. Wilco might never become Top-40 radio darlings, or their next album might propel them to popularity on par with the Beatles. Either way, they remain one of the best bands out there-no matter what genre of music you listen to.

Summerteeth is a miasma of rock, pop, and country music swirled into an amazing tapestry of sound. The songs evoke hard and true feelings: bitter anguish and bubbling euphoria. Like all truly great albums by truly great bands, they defy description and they work together. Wilco doesn't use cheesy concepts or themes to tie their songs to one another, but this is one disc you have to listen to all the way through to appreciate.

In the end, that greatness may be their commericial undoing. Although certain tracks would certainly work on pop radio, they're not as good by themselves. To hear one of Summerteeth's songs without hearing the rest of the album is like reading a single and random chapter of a great novel-it may be good reading while you're reading it, but you have to read the whole thing to appreciate its magnitude.

Buy this album, and listen to it, and it alone, for a week. Then buy Yankee Foxtrot Hotel and Story of the Ghost and consider yourself a Wilco fanatic. Trust me-it's worth it.

PS: also check out Greg Kot's forthcoming (June 15th) book on the Wilco. Greg is the Chicago Tribune's lead rock critic and one of the most honest and earnest voices out there today. His reviews are right on and transcend criticism to bring you the true story and significance of the music. ... Read more

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Rockin' and eclectic, this Austin quintet aims to brighten honky-tonk nights with their fifth album, Wicked Twisted Road. Sure, there's a sense of regret in the opening title track and "Dogtown"--mostly for squandered youth and aspirations--but Celtic fiddle lines and singer Willie Braun's lilting melody makes the tour story "Seven Nights in Eire" a genuine pub song, and "Motel Cowboy Show" celebratesall-night boozin' and lovin' with hot pickin' and a rollicking drum beat. A revving motorcycle kicks off the bad -boy-on-the-run stomp "Sixgun." And there are bad girls, too, like the cruel lover who's "bitter and sweet as a death-row meal" in "Nobody Haunts Me Like You." There's also no shortage of big guitars, growling through half of these numbers and happily rubbing up against the spiky blues harmonica of the post-breakup slammer "Wretched Again." The album winds down with a lovely acoustic instrumental version of the title track--proof that even a wicked twisted road dotted with robberies, heartbreak, and drunkenness can turn back home, peacefully, again. --Ted Drozdowski ... Read more

Reviews (5)

This is what country bands SHOULD sound like
If country radio was true to itself and its listeners, and not caught up in imaging, Reckless Kelly would be one of the most played bands.

I've been a mediocre fan of theirs for several years, but after hearing a few tracks from this CD on XM Radio, I became a true believer.WICKED TWIST ROAD is not too polished, but also not too raw.The album flows wonderfully, from sad ballad, to honky-tonk, to country-irish (is there such a thing?), to good country-pop, and finally, memorable western story songs.

I rarely give CDs 5 stars, but this is a must-have for any alt-country fan.This is what country is all about.

Masterpiece
This album all together is a great album, no bad tracks. My review of each song.

Wicked Twisted Road - 8/10 Great title track song, unlike others, but is one of the weaker songs on the album

Dogtown - 8/10 Another one of the better songs on the album

Seven Nights In Eire - 9/10 One of the best tracks on the album, it has a great Irishish sound to it

A Lot To Ask - 9/10 Great song about the trouble with taking someone back

Motel Cowboy Show - 9/10 Just a real fun song

These Tears 9/10 Well put together lyrics and melody

Sixgun - 10/10 Greatest song on the cd, the story of a bank robbery, betrayel, and love. Also the longest track on the cd.

Nobody Haunts Me Like You 10/10 Very haunting song, just like the title insinuates. Comes in a very close second to Sixgun

Wretched Again - 7/10 While it is a good song, it just doesn't have the memorability like the others

Broken Heart 8/10 Good song, but it's still one of the weaker tracks compared to Sixgun and These Tears

Stick Around 9/10 Great lyrics and a very catchy tune

Baby's Got A Whole Lot More 8/10 This song seems more filler than anything, its a good song, but they could have done better

Wicked Twisted Road (Instrumental) 9/10 Its refreshing to see instrumentals coming back with the likes of Brad Paisley and Reckless Kelly

Wow!!!! Just discovered this awesome band
Just bought this cd and it blew me away. I was so impressed i went out and bought Under The Table & Above The Sun which is also a fantastic cd. The story telling along with the hard hitting music makes for an unbelievable sound. I can't believe i am just hearing Reckless Kelly now what a hidden Talent.
Wicked Twisted Road
1. Wicked Twisted Road 10/10
2. Dogtown 7/10
3. Seven Nights In Eire 10/10
4. Alot To ask 7/10
5. Motel Cowboy Show 10/10
6. These Tears 8/10
7. Sixgun 11+/10 Best Song On Cd
8. Nobody Haunts Me Like You 8/10
9. Wretched Again 6/10
10. Broken Heart 8/10
11. Stick Around 7/10
12. Baby's Got 8/10

RK has a bonified hit this time.
Many of you have probably never heard of Reckless Kelly but let me tell you what you are missing out on.Anyone who likes something a little different than what you hear on the radio and at every little bar will love this album.It has a mix of everything from slow "countryesque" ballads to fast, instrumentally supurb rock/americana type songs. If you wanna try something a little different and alot better than what you are used to, then this album is for you.

The best yet....
I'm the first to admit that my take on Wicked Twisted Road is biased because of my love of RK's music.I knew before I even heard the record that I would love it.I guess what I wasn't counting on is how great of a record it would actually be.I knew it would be great, but I didn't know I'd like it so much more than their previous efforts.

The album is tied together wonderfully by the bookends of Wicked Twisted Road and the Wicked Twisted Road reprise.Other highlights of this record include Motel Cowboy Show (sure to become a staple of RK concerts to come) and Wretched Again (which reminds me of Southern Harmony Musical Companion era Black Crowes material).The songwriting, as always is great on Wicked Twisted Road, but it's taken a turn towards the darker side of life, which is certainly a welcome addition to Rk's music.

The real gem of this record though are the musical performances and the production work.Ray Kennedy's (known for his work with Steve Earle as part of the Twangtrust) work shines through on Wicked Twisted Road.Kennedy found a way to bring the feel of a live Reckless Kelly show to a CD.For the first time, you can really hear the little intricacies of the music from the mandolins, fiddles, percussion and the bass lines.It's the most accurate recorded representation of a live electric Reckless Kelly show.Everything and everyone shines on this record and it's sure to propel the band to new heights.

Reckless Kelly is:

Willy Braun-Vocals, guitars
Cody Braun- Vocals, fiddle, harmonica, mandolin
David Abeyta- lead guitar
Jay Nazz- drums and percussion
Jimmy McFeely- bass guitar

www.recklesskelly.com ... Read more

Amazon.com

For too long, superficiality has dominated Nashville's marketing of teen artists. Plans to turn "the kids" on to country usually involve offering young fashion-plate acts dishing out trite, superficial music cynically contrived by Music Row to appeal to the MTV crowd. It's an approach that rarely succeeds. To his credit, Blaine Larsen, an 18-year-old native of Buckley, Washington, has no truck with such nonsense. A longtime admirer of George Strait, his muscular, Strait-like traditionalism is long on honesty and heart, free of artifice. He applies an expressive voice, mature beyond its years, to pained love ballads ("The Man He'll Never Be"), thoughtful youth numbers ("In My High School"), homages ("If Merle Would Sing My Song") and affable country pride ("That's Just Me"). "The Best Man" salutes Larsen's stepdad. "How Do You Get That Lonely," a gripping tale of teen suicide, pulls no punches.By taking his music seriously and treating his audience with respect, Larsen's stunning, mature debut--one teenagers and parents alike can appreciate--bodes well for his future. --Rich Kienzle ... Read more

Reviews (12)

Good Start, but not great
I read the lyrics and I thought this would be one heck of a great country CD.The music is good, and the lyrics are very good, but the person who reviewed this CD and said he sounds just like everyone else is so 100% correct.The voice is good, just that Blaine sounds like everyone else and with Kenny and Toby and Tim around, I do not believe Blaine is equal to their emotional vocals.I have listened to the CD many times, always hoping I will change my mind because Blaine seems to be such a nice person, but I always feel like I am running on empty.Buy at a discount if you can.Otherwise, listen to the radio and wait until the next CD, which will hopefully allow Blaine to grow and expand his vocal style to be his own, and not every other country singer.I wish I bought it at a discount.The CD is just not enough of Blaine, and too much of Toby, Kenny, Vinceand Tim.

GOOD CD BUT HE SOUNDS LIKE EVERYBODY ELSE!
The material is fine.The guy has what it takes to make it in the music business...looks.THe voice?His voice is great!Here's the problem....he sounds like Brad Paisley.He sounds like Alan Jackson.He sounds like George Strait.He sounds like Garth Brooks.He sounds like Tim McGraw.If I heard him on the radio I wouldn't know who was doing the singing.Alas, this is the problem with country music today.We're going too much on looks and not enough on distinctive style and personality.Larsen has the talent and the looks but the talent is a copycat style of everyone else out there.He doesn't stand out, unfortunately because he sounds like everyone else.

What a magnificent voice!
I first heard Blaine on this site as I was reviewing different country albums. I was taken back by his baby face and the maturity of his deep baritone voice. This is one of the best country singers I have heard in a long time. I had to go to two Wal-Marts looking for this album and finally found one copy at Target. Every song is great but the most enjoyable to me was "How Do You Get that Lonely" "The Best Man" and "Yessireebob." Suggestion to Alan Jackson...Have Blaine tour with you this summer. Congratulations Blaine on a job well done.Looking forward to hearing more from you....

What a voice!
"How Do You Get That Lonely" and "Teaching Me How to Love You" are awesome.But what makes Blaine great is his VOICE!It's been a long, long, while since a voice gave me goosebumps like that.Keep up the good work!

this kid is gonna be a legend
not alot of new country artists are even country. but when i put this cd in my car i was pleasently suprised. he has one of the most amazing voices ive hurrd in quite awhile. his southern roots truly show. how do you get that lonley is a great song on a tuff subject but i think he does it justice. the man hell never be an teaching me how to love you are sum of my favorites but anybody who enjoys good country vocals an strong lyrics will deffitnaly enjoy this cd so i would recommend this cd to anybody from track 1 till the very end its great if this kid keeps it up i look forward to the direction of country music. ... Read more

Amazon.com

Craig Morgan was seen as just another also-ran with his eponymous first album in 2000, even as there was much about his debut that promised more. Then, when no one was looking, his second album, I Love It, yielded "Almost Home," which garnered a buzz in even the most jaded Nashville circles. Now comes CD number three. An album track, "That's What I Love About Sunday," a soulful melody wedded to a lyric about the joys of a lazy weekend--church, coupon clipping, loving--surprised a lot of folks by grabbing the No. 1 spot on the singles charts for four straight weeks, marking the first time an indie single had done so since the Kendalls' "Heaven's Just a Sin Away" in 1977. Chances are, several songs from this lively CD will follow on the charts, particularly "Blame Me," which finds Brad Paisley and John Conlee joining forces to take credit (hopefully tongue-in-cheek) for country's current popularity. Several tracks ("I'm Country," "Redneck Yacht," and "In My Neighborhood," which references a plastic coon dog as a hood ornament) work the populist theme to death. But Morgan, who wrote 8 out of the 12 cuts, also knows how to deliver a hurtin' ballad ("That's When I'll Believe That You're Gone") and a grateful love song ("I Got You"). Watch this ol' boy finally take his rightful place as a cornbread contender. --Alanna Nash ... Read more

Reviews (2)

All country, all the time...
Listening to a Craig Morgan CD is like reading a pamphlet about country music: it's entertaining, it's enjoyable, and it's TRADITIONAL! In this day and age where every new artist almost MUST have a pop edge (either through their own will or that of the record label), Craig Morgan, through three albums, has remained true country.

That said, MY KIND OF LIVIN' is enjoyable if only for that. However, there is also Morgan's superb vocals--he's no crooner, let's face it, but his voice is reminiscent of backyard barbeques and sunsets. His choice of outside material--the superb #1 hit (his first ever) "That's What I Love About Sundays", the quirky "Redneck Yacht Club", the touching "Cowboy and Clown," the rollickin "In My Neighborhood"--is admirable. There's something to say for his original tunes, as well--"I'm Country" and "Blame Me" (the latter featuring Brad Paisley and John Conlee) are anthems for country music, while the heartbreaking "That's When I'll Believe That You're Gone" is by far the album's standout track. Not that there're too many downers here...none, in fact, which is par for the course for Morgan.

MY KIND OF LIVIN' is yet another great country CD by this multi-talented artist. Songs of love, songs of heartache, songs of family, songs of God, songs of living--it's all here. Everything that country music is, you'll find on this album. That's because Craig Morgan IS country, to the core. Buy this album, and if you have any doubts currently, they will be put to rest.

Great Album
This is a great record. I was first turned onto Craig from the song "Almost Home". This whole album however, is a must have. He keeps the Country in Country Music. Craig is an excellent songwriter and it shows through in the album. The opening track is his latest single. But there are songs for every type of person. SOme of the best are:

Lotta Man- this is a great song. Very powerful.
If you like that- a very good love ballad.
Rain For The Roses-all about rekindling what you have at home.
Blame Me-a great song about Country ft.Brad Paisley.
Cowboy and Clown- probably my favorite song on the album. A ballad of a cowboy and a clown and the friendship they have.

There are however some great up beat songs too.

I'm Country- song title says it all.
Redneck Yacht Club_what all us good ol' boys are out doing when we go to the lake for a weekend in the summer.
In My Neighborhood-just a swinging song about the great life of living like a redneck.
Ain't the way i want to go Out-rocking song

This is a great album, every song is worth giving a listen to. I think it is a must have to add to your collection.
... Read more

Reviews (18)

A Great Album!
The "There You'll Be" CD features Faith's best recent songs. The "Breathe" (Tin Tin Out Radio Mix) is absolutely beautiful and is better than the original version. Another great song on here is "There Will Come A Day" (this is the song she performed for the September 11th telethon). It's an amazing ballad that has very heartwarming lyrics and it shows off Faith's wonderful voice. Obviously, the "There You'll Be" song from the Pearl Harbor soundtrack is on here and I was very happy of that. If you're a Faith Hill fan and want some of her best songs, this CD is for you.

Wonderful collection...in a way
This would be the ULTIMATE Faith Hill CD, except for a few minor setbacks:
Setback No. 1: It doesn't have "Wild One" on it.
No. 2: The rockier version of "Piece of My Heart" just doesn't fit Faith.
No. 3: It doesn't have any songs from the "It Matters To Me" CD, which is one of her best.

Now that the setbacks are out of the way, it's time to focus on the good parts of the album.
For starters, it's the only place besides the Pearl Harbor Soundtrack where you can get "There You'll Be".
It also has her hits from "Breathe" and "Faith", except for the duets with Tim McGraw (Another minor setback).
It has "Over The Rainbow" on it, from the Oscars. Great thing to have.

All in all, I'd buy this CD, for the remixes and "There You'll Be" -- but if you're looking for a Greatest Hits with ALL of Faith's hits on it, this isn't the CD for you.

A great introduction for casual fans. Worth the import price
I assume that this 2001 "best of" Australian import must have been Faith Hill's label's attempt to capitalize on the massive crossover success of her "Breathe" release to put out a product to showcase her better known work to the rest of the world. It basically grabs the basics from "Breathe," "Faith," and "It Matters To Me," with a few nuggets like "Somewhere Over the Rainbow" (which she sings quite nicely) and "There You'll Be" from the Pearl Harbor soundtrack.

In a nutshell, the collection works quite well, although hard core fans will find fault in that it's missing some of their favorites, there is no denying that the worldwide audience should be eating this up as to me it sums up Faith's most popular material. The only thing that I would change is that I would have taken out "Piece of My Heart" as it's too gritty to tackle. Don't get me wrong, she does a fine job with it, but it's been done better.

My favorites here include ALL (but I do have a special place in my heart for "Let Me Let Go") and although I love Faith's voice (which keeps getting stronger with each release), to me the melody and lyrics truly bring it home. Note that this 2001 collection obviously does not have any songs from "Cry" as this collection preceded that release. I am guessing that Faith's US label should be releasing what will probably be a more accurate version of her best songs, but this should more than satisfy most fans and new converts. It easily earns 4 stars.

Full of Faith
This is the best CD of Faith Hill's music. It has everything. The only song that should have been included on it is "CRY" and then it really would have been complete.

An absolute bargain--one of my Top 5 fave albums ever
First of all, I do realize that this was a compilation that's merely been imported to the US for the few of us who know about it. With that said (I had to say that b/c I've had so many people criticize me for liking an imported compilation album!), this album is just beyond amazing to me. The one song that I wish so much was on there, though, is my fave Faith Hill song, "It Matters to Me." That would make this the perfect album, and it would make me wonder even more why this album wasn't released in the US. I stumbled upon it @ a store going out of business, so I definitely lucked out. I would urge anyone who's any sort of Faith Hill fan to buy this album--it's worth the asking price on here. This is the first of any of her albums I've bought (besides a cassette of "It Matters to Me"), and I've admired her for several years now. As some of the other reviewers said, the "Breathe" remix is unbearable to listen to (the original version stands fine on it's own, I think!), but other than that, the album is just stellar. Faith's version of "Somewhere Over the Rainbow" brings new life to the song, and I'm a Judy Garland fan saying this. Just like someone else on here said, the album doesn't miss a beat. Don't confuse this compilation with others (i.e. "I Need You", a hideous compilation of LeAnn Rimes songs)--the quality is phenomenal. If you're a new fan, or even an old one, save yourself from having to buy Faith's older albums and just buy this one. It's a rare gift indeed. ... Read more

Amazon.com

Although there's only one new original on Iris DeMent's first release in eight years, the music throughout ranks with the most personal she has made. DeMent's quavering vocals invest this collection of traditional spirituals with an unwavering conviction. "This is my story," she sings on "Blessed Assurance," written more than 130 years ago. "This is my song." In her liner notes, the Arkansas-raised artist explains how these were the first songs she remembers hearing, and that this music has always provided comfort during hard times, a comfort that isn't necessarily (or at least not narrowly) religious. On "Sweet Hour of Prayer" and "God Walks the Dark Hills," DeMent accompanies herself on stately solo piano, and the emotion is as pure as the arrangement is unadorned. On other tracks, DeMent and co-producer Jim Rooney enlist homespun support from kindred spirits such as guitarists Mark Howard and Bo Ramsey and a call-and-response chorus of harmonizers including Stuart Duncan. The self-penned composition, "He Reached Down," is a folkish recasting of the Biblical "Good Samaritan" parable. Even listeners who don't share the faith expressed in these songs will have trouble resisting the unflinching intimacy of the performances. --Don McLeese ... Read more

Amazon.com

As a teenager Dave Alvin frequented legendary L.A. blues clubs like the Ashgrove, where he soaked up the licks and the spirit of T-Bone Walker and Big Joe Turner. Alvin's first collection of new songs in six years repays these debts with the meanest electric blues he's ever played--and some of his most vivid, and most elegantly arranged, character studies. "Out of Control" nails the seediest of L.A. night-crawlers, the autobiographical "Nine Volt Heart" reveals the wonder of growing up with soul-era radio, and "Everett Ruess," the story of a desert drifter who happily disappears forever, questions how much we'll ever understand the human heart. Song for song, Ashgrove is Alvin's best record since King of California. All the narrative poise, lyrical soul, and guitar muscle of an American music master is here. --Roy Kasten ... Read more

Reviews (8)

Authentic American music for adults.
This CD is a surprisingly effective combination two different forms of genuine American music: Country and Blues. Dave Alvin has not only the audacity to do this, but the talent, both in song writing and performing, to bring it off successfully...The musicianship is first rate and Alvin's guitar work has never sounded more accomplished. His hard driving electric blues riffs and his near poetic acoustic work not only showcase his virtuousity but display a skilled musician at ease with his playing. His voice naturally complements the emotions of each song, from the growling blues in "Out of Control" to the elegiac wistfulness of "The Man in the Bed"...Most of the songs address loss: loss of love, loss of youth, loss of hope with depth and wisdom...In this era of bland aural product, unworthy of the title "music", marketed to adolescents, it's a wonder and a pleasure to listen to this accomplished and heartfelt collection of music. Think of a combination of Stevie Ray Vaughn and Johnny Cash and you'll have an idea of the music found here. I highly recommend ASHGROVE.

tough songs for tough lives
Dave Alvin has produced yet another set of magnificent songs. This one's different from "Blackjack David," his 1998 collection -- it is 1/2 a singer/songwriter album, and 1/2 a blues album. In fact it sounds like it might have been two quite different albums, but Dave decided to blend them. Whether or not that speculation is on target, the alternation of heavier blues numbers (Ashgrove, Black Sky, Out of Control, Sinful Daughter, Black Haired Girl) with more contemplative folk/country songs (Rio Grande, Nine Volt Heart, Everett Ruess, The Man In the Bed, Somewhere In Time) works to great effect. Dave has clearly been working on his electric blues guitar, with some great influences -- he sounds like Son Seals on "Black Sky"! Greg Leisz plays guitar and produces, and is indispensible once again for the overall sound. One of the best albums of 2004, without a doubt.

Tell the Truth!
We can all agree on one thing about Dave Alvin: the boy tells the truth, in his playing and his lyrics. This is another amazing musical gem and my personal favortie since "Blackjack David," his last CD of all-new original material. Not that he's ever done anything less than 4-star quality, mind you.

I wrestle with the mystery of how folks like Springsteen get such (deserved) credit, whilst Alvin consistently releases equally impressive -- if not better!! -- CDs. Should the blame be his punchless record label, today's sorry state of radio, or managment that can't hook him up with a huge tour to reach the masses? The problem sure ain't the material and performance.

An interesting study is listening back-to-back to "Somewhere In Time" off this CD and recent Los Lobos release. The Los Lobos session ranks as my "Song of the Year" thus far in 2004. Nonetheless the more economical version contained here still drills deeply into the soul, exposing deep aches and loss we've all suffered through, minute-by-minute, only to find some hope to help us survive.

The title track is the honest howl of a genuine man. He has lost his youth and is now victim of his own drive and desires formulated at an impressionable age. It's a contemporary perspective worthy of comparison to Blake's "Songs of Innocence and Experience."

"Out Of Control" is just a brilliant character study, and Alvin may have read my childhood diary before writing "Nine Volt Heart."

"Black Sky" and "Black Haired Girl" are other superb standouts (after "Blackjack David" what other black song will we get?) that showcase Alvin's band this time.

The Guilty Men are a formidable backing ensemble, but session players on this were definitely open for business at the studio. Bob Glaub on bass is especially well situated in the mix, emphasing and punctuating the messages with an underlying and subtle urgency.

Whaddya want? It's summer. So do yourself a great big favor. Put "Ashgrove" on, pour a crisp drink, go outside under the moonlit sky and listen to a CD that'll revise the how you see life while it validates your personal truth and values.

Dave Alvin finally releases a perfect studio album
... at least of his own material (Ironically, I think the highest quality album of this classic songwriter is Public Domain, his arrangements of traditional songs).

I love Dave Alvin's music, but often the production values of his records doesn't always equal his songwriting and musical talents, and his studio work doesn't equal the power and perfection of his live performances. Until his new album, Ashgrove.

Ashgrove has the perfect sound -- Dave and Greg Leisz have really outdone themselves. Buy the album and go see Dave and the Guilty Men on tour -- these songs are tremendous live, especially with Chris Miller accompanying dave on guitar/steel guitar.

His Best Effort Yet
Dave Alvin, while always good, has gotten progressively better over the years and Ashgrove arguably marks his best effort yet. Despite a string of fine CDs under his belt, Alvin has thus far failed to gain a wide audience beyond Southern California and a few cognoscenti scattered around the globe. This is the CD that should finally bring him the notice and acclaim he has long deserved. With the proper promotion, this album should attract alt-country and blues-rock fans, as well as cementing his musical ties with his established fan base.
Ashgrove starts strongly with the hard-rocking title cut and alternates harder rock and blues numbers with country-tinged ballads. I like the whole CD, though a couple of the softer numbers, The Man In The Bed and Somewhere In Time are on the weak side. My favorites are the evocative ballad Rio Grande, the searing Black Sky, the blistering rocker Out Of Control, and the plaintive ballad, Everett Reuss.
I certainly owe my friend Felice Kay, as she is one of the cognoscenti who brought Alvin's music to my attention several years ago. Without her tip, I may never have discovered him.
Obviously, Ashgrove has my highest recommendation. If you are not yet a confirmed Dave Alvin fan, this CD will make you one. ... Read more

Amazon.com

A lonely Westerner in Nashville, Marty Robbins salved his soul by cutting an album (in one afternoon) of mostly self-composed cowboy ballads. One of them was a four-and-a-half-minute epic, "El Paso," that broke every rule of Top 40 programming to become a No. 1 pop and country hit in 1960. Robbins was arguably the most surefooted and accomplished singer in all country music, and that was never more obvious than on these Western ballads performed to often breathtaking perfection with a very small group and a vocal trio. Other titles include "Big Iron" (also a Top 30 hit), "Running Gun," and Western classics like "Cool Water," "Billy the Kid," and "The Strawberry Roan." Three extra tracks flesh out the 1999 release, including "Saddle Tramp" (the B-side of "Big Iron") and "The Hanging Tree" (title song from the 1959 Gary Cooper Western). --Colin Escott ... Read more

Reviews (33)

Authentic cowboy singer! Just like watching a movie.
Marty is truly an authentic cowboy singer. When you listen to these songs of the old west, you can actually SEE what he's singing about and he makes you feel the emotion of the song. As a born Arizonan, he grew up with stories of the old west that his grandfather, Texas Bob Heckle, would tell him. Can you believe that Columbia Records, at first, was reluctant to have him release a 'cowboy' album, telling him that his 'voice wasn't right for cowboy songs'......wrong! Marty possessed a beautiful voice and was 'at home' in any genre of music, but his western 'stories in song' were just magnificent. Just give a listen to MAN WALKS AMONG US, THIS PEACEFUL SOD, THE RED HILLS OF UTAH, JOHNNY FEDAVO, BILLY VENERO....hear this extraordinary voice take you back to the days of the cowboy. I promise you, you WILL feel the sand in your eyes and smell the smoke of the 45. He makes it that real. If I could recommend any one singer when it comes to cowboy songs, it is MARTY ROBBINS....he brought the cowboy to life. This album is one of his finest and most sought after collections.

Classic is not overhype.
Every song here is special. I remember skipping a day of school my senior year (sorry, Mom), driving around listening to the tape I had of this. When this special edition CD came out, I jumped on it. Excellent songwriting, superior musicianship, and possibly one of the best voices in the history of country music make this album a keeper. Marty Robbins spins tales of danger, love, and death and enraptures the listener in the process. "Utah Carol" tells the story of sacrifice in the face of danger. "Running Gun" speaks about how you can never turn your back on a life of crime completely. "The Master's Call" is a supernatural cowboy tale. Of course, the two standouts on this album are "Big Iron" and "El Paso". Both are Leone/Ford-esque tales of confrontations. The latter being between a reformed criminal, his loved one, and the law, and the former being between two men on opposite sides of justice. Close your eyes and imagine what Tarantino would do with these songs. I would say, this and Red-Headed Stranger would be number 1 and 2 on a list of country concept albums. Big-time props to the Glaser Brothers for superior harmonies, and Grady Martin for some of the greatest guitar work ever heard on vinyl, tape, or disc. This isn't just a present for grandpa. If you are drawn in by Johnny Cash's American Recordings, then you will love this.

One of the great singers of the 20th Century
When I first heard this album back in 1960 (as a kid of 15) I was unimpressed; I was into a more Pop sound and it was bought by an elder brother of mine and it did nothing for me at the time. Then for some reason I decided to play it one afternoon and I was simply blown away by the singer performing these songs. Marty Robbins was performing them as only he could with such spellbinding emotional sincerity that I became hooked on this artist for life.
'El Paso', 'Big Iron, 'Running Gun' and 'The Master's Call' were all movies set to music embellished by the great guitar work of Grady Martin and the vocal accompaniment of Bobby Sykes and Jim Glaser. Previously 'Cool Water' had been associated with the Sons of the Pioneers or Frankie Laine but it was to become as much a Marty Robbins song thanks to this magnificent version likewise his stirring interpretations of 'Utah Carol' and 'Strawberry Roan.'
One could ask how could Marty follow this masterpiece but follow it he did because the follow up 'More Gunfighter Ballads and Trail Songs' reaches the high standard set by its predecessor.
This great album led me back to the records he had released in previous years when I (and most of the U.K.) were unaware of him and rued the fact that such a fine artist should have been deprived of many hits in Britain because of mostly second rate cover versions by British singers. 'Gunfighter Ballads and Trail Songs' was a success however, in Britain and 'El Paso' did make our top 20 and a couple of years later 'Devil Woman' and 'Ruby Ann' charted and a TV advertized album hit the top 10 but this awesome talent should have had much more recognition over here than he got. How many times in conversation have I mentioned that I was a Marty Robbins fan and be greeted with almost reverence in acknowledgement of his greatness by the person I was talking to?

Thank God for Marty's masterpiece.
This is one of several albums that kept me going thru the bad times of my life; the Ventures and the Four Seasons, as well as the Rightuos Brothers made the rest. I first heard this album in 1969, fell in love with it, and now own that copy, another one I bought myself in 1978, as well as BOTH cd versions. If that isn't enough recommendation, then I also have a scale model of one of the cars Marty raced in NASCAR competition (he finished in the top 10 in a third of the events he entered, including some Daytona 500's!) to show you.
These songs ring true because the voice was true. He knew the men, the land. Much like Louis L'Amour did. So far as I know, none of the stories told here are anything but stories. The beauty of the voice brings the people to life with such vivid tones that you actually see them (or in 'El Paso', live it) in person. 100 stars for this one, for real.

Great ballads and Great songs
This is the acoutic/folk Marty singing about issues with Cowboys. The songs are about some kid who wanted to be known as a man or a story about someoen who was shot. It is very indicative of The Old West. All these songs could have been made into movies. A couple of these songs are well-known, household name classics, Marty's Folk version of 'Cool Water' and then there's possibly his most famous song, 'El Paso'. Seeing this is acoustic music, and Marty wrote many of the songs himself, this music is very much, to my mind, a precursor to the 'singer-songwriter' era of the early 70's. This is a gem that I would recommend to anyone. As I said these are simple songs about interesting, entertaining tales and lovely melodies. The track I like the most is 'They're hanging me, tonight'. It has a lovely melody, Marty's vocals are as emotional as ever and the guitar work is brilliant. ... Read more

Amazon.com essential recording

If you buy Great Days: The John Prine Anthology, you may live to regret it. He's probably the best American folk-song lyricist of his generation, mixing low-key poignancy and deadpan humor in perfect proportions. His musical limitations serve to reinforce the understated nature of his art, and his short, plain-spoken lines (written in the offhand conversational style of his Midwestern and Appalachian characters) sneak through the back door of your imagination and won't leave.So where does the regret come in? Well, as you listen to the 41 songs arranged chronologically on these two CDs, you're going to ask yourself, "If someone can write 41 songs as good as these, isn't there a good chance he wrote more than 41?" After hearing the anthology's six songs from Prine's 1971 debut album, for example, you may decide to go out and buy that album itself. After you hear songs as delightful as "Pretty Good" and "Your Flag Decal," which didn't find their way into the collection, you may soon find yourself hunting down all 10 of Prine's original studio albums. Then you may regret having bought Great Days. --Geoffrey Himes ... Read more

Reviews (28)

The earliest material is the most memorable...
There are lots of selections in this compilation, but the songs from John's first album are the clear standouts. "Illegal Smile" and "Spanish Pipedream" and "Hello in There", along with "Sam Stone", "Paradise" and "Donald and Lydia" have never really been equalled in the 30 years since. I am glad John is still performing, and I loved his recent album of country duets "In Spite of Ourselves", but this collection shows that after his first self-titled record in 1972, John had a hard time. There are about 28 other titles in this two-volume set, and only a few are truly distinctive. None, of course, are horrible, because we are talking about John Prine, but the MAGIC was there on his debut, and has not quite been there for any one release since.

A Whole Lotta Prine
Checking in at 41 songs, "Great Days" is a generous anthology to say the least. As such it exposes one truth about John Prine, namely that while he is at times a very gifted folk rock songwriter, his output of first rate songs is not that prolific. Nevertheless, the album touches on all phases of Prine's career, from his hippie influened early days ("Illegal Smile") to his whimsical middle period ("Fish and Whistle") to his 1990 "comeback" ("Sins of Memphisto"). Along the way, the only notable exclusions are "Your Flag Decal Won't Get You Into Heaven Anymore" from his debut album and maybe a couple of more selections from his excellent 1990 indie album "The Missing Years." There are plenty of great tunes here, but unless you are a big Prine fan, you will probably find listening to the entire collection at once a bit taxing. Prine at his best is a songwriting force to be reckoned with, but throughout his three decade recording career he has been at his best only fitfully.

Oveerall, a tad overlong anthology that neatly sums up the career of this vital American folk rock artist.

Side 2 is underrated
The first CD has may of Prine's most well known songs, which makes for a very strong CD. When I first listened to the second CD, though, I was initially disappointed thinking that it wasn't as strong as the material on the first CD.

Multiple listens, though, convinced me otherwise. It's just that John Prine mellowed and the second CD is calmer and perhaps sadder than the first CD, but the work is no less powerful. So buy it for the great songs on side one or the underrated songs on Side 2. Either way it's a good investment.

OHHH, SO GOOD
I love this guy. I only got turned onto his music about a year ago, and I'm sure that I have a lot more to learn about his music. I heard a little tune called "your flag decal" and another one called "take a look at my heart". I consider those two tunes to be some of the best songs I have ever heard. Even though, neither of those are here, I was convinced to by this two-disc anthology, and I'm So glad I did. I've had this collection for about six months and one of my favorite things to do is to play this whole thing from front to back when I decide to stay home all day.

I really don't know how to describe his music or his voice. The only thing that comes to mind is "greatness". His voice has a soothing charm and the lyrics stay with you. It is so rare for a compilation of this size not to have one bad song. In fact, I can't think of another one. Every single tune is just awesome and (like the editorial said) you WILL want to go and track down his whole catalog.

That's really all I can say about this great guy and his music. There are fun songs and there are some not-so-fun songs. They're all great. Just wonderful.

Great
That's the way that the World goes round, best rendition of the classic song. John will be in our ears and hearts forever. ... Read more

Amazon.com's Best of 2000

The simple truth is that Johnny Cash could read the phone book and make it compelling. At times this set sounds like a deathbed recitation rather than a collection of songs, but the man's aura and mystique carry the day. Atop Rick Rubin's spare arrangements, Cash makes every song he interprets his own. --Marc Greilsamer ... Read more

Reviews (109)

One of the best albums of 2000 in any genre of music
I don't have this album on CD, but I do have it on vinyl. It is easily one of the best albums released this year. It is an album that does have a lot of acoustic guitars, fiddles, a harmonium and some organ which leads to a fine acoustic sound. Collaborators include Tom Petty on the title track (the Neil Diamond classic which his original can be found on "Classics: The Early Years," "The Greatest Hits 1966-1992" and "In My Lifetime") and his own "I Won't Back Down" (his original is on "Full Moon Fever" and the compilations) (Johnny does a great job on both songs), Sheryl Crow on "Field of Diamonds," "Wayfaring Stranger" and "Mary of The Wild Moor," Merle on "I'm Leavin' Now," Laura Cash on fiddle, June Carter Cash on "Field of Diamonds" and the members of the Heartbreakers as backup musicians, just like his Unchained album, but unlike "Unchained" there are no drums on the album. He also does a great job covering U2's "One" (the original U2 recording can be found on "Achtung Baby") It's a must buy and as I said, it's one of the best albums of 2000.

A great bookend to a great trilogy
When Tom Petty released "I Won't Back Down" in 1989, his song about self-sufficiency came off as little more than a laid-back look at life. But to hear Johnny Cash sing the words "Well I know what's right/I've got just one life" on "American III's" kick-off track, it almost feels like the song was tailored to the life that the legendary Man in Black has led. After all, Cash has explored every facet of sin and salvation for almost 50 years, and at this point, bolder words couldn't describe it better. On his third outing with producer Rick Rubin (who was at the helm for 1994's breathtaking "American Recordings" and 1996's Petty and the Heartbreakers-backed "Unchained''), Cash's distinguished voice and delivery again take other songwriters' works into deeper places; even on such familiar songs as U2's "One" and Neil Diamond's "Solitary Man" he adds a poetic feel that was perhaps clouded in their original forms. Putting a Nick Cave song ("The Mercy Seat") in the lineup also was a smart idea, as the suspenseful dead-man-walking fable captures a vulnerable Cash caught between life and death, perhaps mirroring what Cash has been going through during the last three years with Parkinson's disease and Shy-Drager syndrome. Much of the album feels like Cash and his buddies, including Randy Scruggs, Marty Stuart and Merle Haggard, just sitting around a campfire playing guitar (and sometimes fiddle and accordion) while Cash's love of singing a simple song takes center stage. Also of note are the sweet romp of "Field of Diamonds" (which features a playful three-part harmony courtesy of Sheryl Crow and his wife, June Carter Cash) and the jolly, self-deprecating "Country Trash." The ominous closer, "Wayfaring Stranger," however, hammers home the point that this legend indeed has just one life -- something that, in his old age and state of health, could be taken from us at any time. Still, "American III'' is a fitting endpiece to the trilogy Rubin has masterfully crafted; while Cash was truly a solitary man on "American Recordings" (simply his voice and his guitar filled the record), "American III" shows he can get by with a little help from his friends.

Amazing
I was not a Johnny Cash fan, but this album is outstanding.

great music