Album Description

"I recorded killers and stars, by myself in the dining room of the house where i was living, in early March, 2001.I had just gotten divorced, was fighting with the band (Drive-By Truckers) and a good number of my friends.I was feeling pretty freaked out and isolated and this album was my therapy.Most of the songs were new.I recorded the album in two consecutive nights, then ran down some rough mixes myself (with no outboard sweetening at all) about a week later.I hastily pressed up a few hundred copies, made a cover for them, and sold them at my solo shows as a '1st draft/work in progress.'

Then the band hit the road and spent the next 14 months touring.killers and stars sort of got left behind.I really all but forgot about it.We were all busy writing and recording for our next album, touring, and just day-to-day living.

A couple of years went by and copies of the album kept getting passed around.Occasionally i would press up a few for some solo shows here or there and occasionally I would give some thought to actually finishing it.Recently I dug a copy out and gave it a serious listen.In some respects it was like listening to someone else.Most of the demons that inspired these songs have long since been laid to rest (or at least replaced by others), but the album kinda holds up for what it is." ... Read more

Reviews (2)

patterson hood's raw brilliance
this album is absolutely insanely beautiful. what a release like this could do for patterson's career and popularity is amazing...if it were to be heard by the masses.
these are the songs neil young wishes he wrote. the lo-fi sound and atmosphere is brilliant and i don't think that a slickly-produced version of this album would be nearly as captivating. this is a must buy for anyone who thinks he knows what real, heart-felt music is.

Brilliant Recording From A Brilliant Muscian!
Singer-Songwriters like Patterson Hood are few and far between.Folks, this is Southern Gothic music at it's best,not a dull moment on the record.It's all acoustic which makes it that much more special.I'd like to encourage all Drive-By Trucker fans and fans of great music in general to buy this.Patterson is fantastic singing and playing guitar for the DBT but hearing him in a different format is a privilege. I hope he records more solos in the future. ... Read more

Reviews (6)

Among the most important bands in Americana today
I travelled 4 hours to see my first Gourds concert after having missed them here in Houston. Lemme tell ya, there ain't no finer live show for the lovers of classic texas country or progressive alt-country. Excepting the drummer, every one of the buggers plays at least one other instrument, and I think they play 3 apiece, but I was imbibing and dancing. Who knows. They are deliciously talented, musically tight and professional, and varied in their lyrical content. One of the songwriters is a staunch, small-town republican in the best of Texas' tradition and the other is a irreverently playful opportunist, wistful and surreal. Oh, it's good stuff. The Gin and Juice thing overshadows their talent and potential, but hey, it got them noticed. They don't have a bad album, but get dems good beeble or Cow Fish Foul or Pig first. This one save for when you've forgotten the damnable Gin and Juice and are jonesing for another fine album by the amazing and underappreciated Gourds. They're intellectuals with accordians and banjos, how much better does it get?

Dat good Beeble
Shazam! I won't quantify this one, but iof you enjoy rock/bluegrass with splash of Snoop then you have found your CD. Buy one for yourself and your neighbor.

Worth it for "Gin & Juice" alone
The Gourds dig into the roots of American music with a greater, more expansive enthusiasm than anybody since the Band. Shinebox is an odds and ends collection, featuring 5 live tracks and assorted covers. The covers range from old traditionals ("Dooley", "Jones Oh Jones", "I'm Troubled") and expected contemporary twangers (Townes Van Zandt's "Two Girls", Billie Joe Shaver's "Omaha") to the left field additions of Nils Lofgren ("Everybody's Missing the Sun") and the gasp-inducing inclusion of David Bowie's "Ziggy Stardust" and Snoop Dogg's "Gin and Juice". The latter brilliantly combines 100 years of music, offhandedly proving the similar bloodlines of modern hip hop and hillbilly jug bands. It's an unbelievably profound statement, and the fact that the Gourds toss it off with an irreverent ease only reinforces their genius.

Killer alt.country tunes!
This is the best CD I've heard in years! The remake of Snoop Dogg's "Gin and Juice" is an underground classic. It's not just hilarious: It's damned fine bluegrass music. If it wasn't for the lyrics, you'd never know that it was originally a rap song about South Central L.A., but that's what makes it interesting and gives it depth. It's not about broken hearts and the usual dreary stuff that country songs are about. Who would think that some white boys from Austin could take that song, countrify it and make it a head-bobbing, foot-stomping, singing-out-loud joy to listen to? But they did. The rest of the CD is excellent, too, but I must admit: I bought it for "Gin and Juice," and I'm very happy I did. When I give this CD to friends, they're floored. One of them told me today that he can't stop playing it over and over again.

Try it if but for one reason...
You should pick this up if for no other reason than the cover or Gin & Juice. As well as being hilarious, it's a really good cover. No, it's not polished, but has that ever really been the point of this genre. Try it, you'll like it. ... Read more

Amazon.com

Laying waste to all the wink-wink irony, dubious material, and vocal mediocrity that frequently mires alt-country fringe dwellers, the second outing from this Virginia-born belter marries tough, twangy rock with wild, unguarded emotion. Neko's principal charm may be her voice--sometimes coming on with Dusty Springfield's indigo-eyed soul (the dreamlike "Porchlight"), Patsy Cline's aching slow burn (the slinky "No Need to Cry"), and Wanda Jackson's imperious sexuality (the rockabilly "Mood to Burn Bridges")--but her songwriting (she cowrote every tune) is surprisingly consistent and memorable. She celebrates the "passion for life" found in her abandoned home of Tacoma, Washington, or a strapped-on Telecaster, and on her best song, "Guided by Wire," she balances between "darkest recollection" and the freedom of music, the kind that matters most, all those voices "singing my life back to me." --Roy Kasten ... Read more

Reviews (55)

4 1/2 stars...a fantastic cd
A traditional country album which blends folk, honky tonk, and rockabilly sung by an ex-punk drummer from Virginia by way of Tacoma recorded in Vancouver and featuring mostly Canadian musicians...a rather odd combination, one which makes it all the more surprising when you realise this is one of the best releases of 2000, bar none.

Every song is stellar, every single one, and not one minute of Furnace Room Lullaby's economical 36:27 length is wasted. Whether it's the uptempo country of 'Guided By Wire', the ethereal feel of 'Porchlight', the fierce fast-pickin' rockabilly of 'Mood To Burn Bridges' and 'Whip The Blankets', the Lucinda Williams-esque folk of 'Thrice All American', Case's evocation of Patsy Cline in 'We've Never Met', the heartfelt torch singing of 'Bought and Sold', or the title track which echoes the 1920's southern folk songs collected by Harry Smith, Neko Case has instantly established herself as one of the true new talents in traditional country music, alongside BR5-49 and Robbie Fulks.

Things don't get more perfect than the elegaic 'South Tacoma Way', a tribute to a deceased friend, where Case's incredible lyrical imagery paints an intensely emotional picture, with a melody that takes your breath away.

The Michael Bolton-with-steel-guitars music that passes for new country these days permeates the current radio market so much that Neko Case has little or no hope of achieving the fame she so rightly deserves. I feel Neko is so talented that mainstream attention will come eventually, but for now Furnace Room Lullaby will live on as truly great buried treasure, one that folks with real musical taste will pass on to their friends for years to come.

Amazing Voice, Solid Songs, Great Album
I have never owned a country album before this one and I don't listen to country at all but I LOVE this album. I read about Neko Case in *Rockrgrl* magazine and listened to some tracks off of *Furnace Room Lullaby* at Border's where I was simply blown away by the opening track, "Set Out Running". As I listened on, I found I liked almost every track. This woman can sing beautifully and with complete soul. Standout tracks include "Set Out Running," "Porchlight," "No Need to Cry," "Twist the Knife," "South Tacoma Way," & "Bought and Sold," but there are no bad songs on this entire disc. I would urge any fans of country music and country virgins like me to buy this cd. The music of Neko Case & Her Boyfriends is really genreless in that it is just immensely good and heartwrenching. BUY IT!

A lullaby that put me to sleep
Neko Case has a delightful voice like none I've never heard. It has been my finest and favorite musical discovery of the past year. I listen to a good bit of alt-country, and this is not one of those waif-ish voices typical of the female side of that genre (though I like many of those voices). Neither is it the sort of voice described in the Amazon review here. To my ears, this is not a voice with the sophistication of a Patsy Cline, Judy Garland, or Sarah Vaughan, and perhaps not a voice of quite that strength. And I don't care - I don't listen to those singers for fun. Neko Case is fun! She rocks, she can belt them out, but she's no diva. So don't buy this expecting Patsy Cline. I think the Amazon reviewer for another CD who described her voice as "spunky" was more accurate.

I expect I'll get the dreaded "not helpful" ratings for not joining in the lovefest here, but beyond the delight of hearing Neko Case's voice, I found this CD disappointing. I'd like to contribute a review that might be useful to those who haven't previously heard Ms. Case and aren't yet converts, as opposed to the many reviews here by fans of all her music. Those fans won't agree with me, but this is a site for buying music, and potential consumers should probably hear from some folks who aren't already sold on the item they're thinking about buying. The singing is magnificent in general, most strikingly so on the first track, "Set Out Running", which just grabbed me and drew me in. I'd love to hear it live! More traditionally country than the typical alt-country, but that doesn't put me off. I found it mostly a downhill ride from there, though, with the biggest bump on "Guided By Wire, where Ms. Case sings inexplicably off-key. The main problem here, in my view, is that the songwriting and to a lesser extent the musical accompaniment is nondescript. "Set Out Running" and the "Thrice All American" aren't bad lyrically, but neither are they particularly well-written. As someone wrote below, this is a singer with a great craft and a great voice, but she is working with poor material here.

I wouldn't recommend against buying - I might buy a recording of Ms. Case singing the phone book just to hear her voice, and would love to hear her perform even these songs live. But they are not the best vehicle for her voice. In contrast, the material she does with the New Pornographers is brilliant, and showcases this amazing voice to much better effect. I would start there if you're not already a Neko Case fan. I haven't heard her other recordings, so can't offer comparisons to them. If you are a Neko Case fan, please forgive my lack of enthusiasm for these songs and please grant me absolution for this review based on my love of her voice. :)

An Amazing Album
Neko Case packs Furnace Room Lullaby with great old-school country. This album is a must for those who hate the state of country radio and for those who really don't like country music at all. It both twangs and rocks. Mood to Burn Bridges and Whip the Blankets are not only rockabilly, then just plain rock - both showcasing percussion that points to Case's stints in punk and country-punk bands. Porchlight, Set Out Runnin' and South Tacoma Way are some of the saddest songs I've ever heard. All of the songs on the album showcase the versatility of her voice. Case's voice is not of this world! She runs the gamet from overpowering to vulnerable and uncertain. Furnace Room Lullaby (along with 2002's Blacklisted) are a must-have for all fans of GOOD music.

unparalleled
There are no songs, no collection of songs... nothing that compares to Furnace Room Lullaby!!!! I've heard selections from Blacklisted and while listening I thought to myself, "Wow, this is quintissential Neko Case", but listening to "Furnace Room Lullaby" again, I realize now that there is no equal. Pure perfection!! Thank you Neko Case! ... Read more

Reviews (14)

Slap it in, and rip the knob off
Well in deference to a music fan in San Fran, this is a great album. Ask any fan of "red dirt" (guess I should say "Texas" since they relocated south of the Red River) or alt country, and they'll tell you this band is the real deal. Yes, it rocks, but "Purple" stays true enough to its country roots for any redneck to appreciate. I have to be honest and say that I didn't enjoy this CD as much as "Highway 377", but you still get your money's worth. If you can't remember what it feels like to be "17" when you listen to that cut, you are too damn old. Way to write 'em Cody. "Broken" and "Constantly" are my favorite songs of all. Fall in love and then lose it and you'll see why. Can't say enough. Just buy it.

What Music is Supposed to Be
This may be the greatest band to ever make music together. It is truly outstanding musicianship and great lyrics. Cody Canada is a great musical mind. 17 is such a true story and it's so fun to sing to with the crowd. Constantly is a song that anyone who is in love will appreciate. Anywhere But Here...what can I say..rockin. This band is liked by both country fans, rock fans, and anyone who knows a good thing when they hear it. Get their other music as well. Alabama is perhaps their finest offering. Everyone, get thsi album and share it with your friends.

Once again the boys from Okie prove they know best!!!
For CCR fans 2002 was our year they released two awesome albums and my two favorite releases. Along with Flogging Molly's
"Drunken Lullabies", Aerosmith's "O-Yeah 2cd greatest hits package and Gov't Mule's "The Deep End Vol. 2". (Three awesome bands, if your not a fan of them than you should be.) Of all the newer bands, I like CCR are the best. Lyrically, song selection, the hidden tracks, the talent of Cody, Grady, Jeremy and Randy all seperate themselves from the pack. After reading all the reviews, I guess I'm the only fan, that doesn't think they are Alternative Country or Country. To me here's what this band really sounds like a mix of a little ABB, Creedence Clearwater Revival, the Dead, Lynryd Skyrnrd, Texas Honky Tonk (Delbert Style), good olde R'N'R, CSN&Y, Neal Young's Harp, Texas/Okie style and alot of originality equals CCR. Listen to any of their releases and you can hear it in the songs. It's just Record Stores, Record Executives, and Radio just always seem to miss label Texas Bands. A prime example is Stevie Ray Vaughan, most consider him R'N'R, but he's a Blues Artist. Just like CCR's not a Country Artist and should not be consider that. These guys are just a bunch of Rock 'N' Rollers who just add a variety of styles for their sound. I liked the "Purple" album just as much as any other CCR album and do not favor one release over another. My favorites on this release are: "Anywhere But Here", "17", "Brooklyn KId",
"Don't Need You", "Walls Of Huntville", "Broken", "Suicide Blues", "Other Side", & "Carry You Home". Any of CCR's releases are well worth it to track down and check out crosscandianragweed.com.
Now to "Praise the Lord and pass me a Bud Light". Everyone who believes in God has their own separate believes. Nobody's right or Wrong. Just be happy here's a band that does believe and respect them for it. Lastly with all my CCR reviews, thanks to "the Dusty Show", for getting me hooked on the band.

One of the best cds of the year--hands down!
In a word, this cd was unbelievable! Every track, from beginning to end, was incredible.

The sad thing is that this band will most likely never achieve the fame they deserve for taking country music and blending it with the blues and rock 'n' roll. No, instead of having a band like this on the top of the charts, we have pop-tarts like Britney Spears or Clay Aiken making up the majority of cd sales today. A sad state of affairs indeed.

Granted, this is more country then rock, but hey, it's good music no matter what you want to call it. A modern-day version of Lynyrd Skynyrd or the Allman Brothers Band, Cross Canadian Ragweed truly shines on this disc. It's hard to start listening to the album in a bad mood and still be frowning when it stops playing. The stand out track on the album has got to be "17" as it makes even people who recently graduated high school grin as they remember the good old days. Aside from "17" the other great track is "Carry Me Home" which can only be described as soul touching. Every time I hear this song, I have to stop and look at myself in the mirror.

On a musical, not lyrical, level the cd is also great. The guitar and drums alone are worth buying the album. As both a rock fan AND a country fan (yes, they can co-exist in the same person) I have to say I love this cd. There is a Tim McGraw lyric which goes "some say it's too country/some say it's too rock and roll/it's just good music/if you can feel it in your soul/ That describes this entire disc to the letter.

Purple
One of the best so far for the band. ... Read more

Reviews (27)

What are box sets for?
The point of box set compilations, like this one, is to provide the listener with an overview of a particular era or type of music. It's impossible to include everything everyone, especially completists would want or even expect. The questions to answer then are "Does this set provide you with a insightful look into 70's punk?" and "When I'm finished listening, have I learned something useful?" The answer is yes, resoundingly. If you were around in the 70's, you will hear and remember some old stuff that you have probably forgotten, and if you weren't around then, you can see how punk morphed into new wave and then devolved into the pop music that often passes as "punk" today. (Devo was right!)

If you like to show off your knowledge of obscure punk bands, or if you think hair gel and a trip to Hot Topic to get a Blink 182 shirt makes you a punker, then this box set isn't for you. It's for people who are interested in, not obsessed with the music and who at least know the difference between punk and "punk." Enough said.

Great Primer on Punk's roots, no Misfits.
This is a great intro. to early Punk Rock. Nearly every early act is represented, with a few notable exceptions.

The MC5 are right up there with the Iggy and the Stooges and The New York Dolls for paving the way. They aren't included. Though the stuff they recorded in the early 70s wasn't their best, the seminal "Kick Out the Jams" came out in 69'. It could've been included because afterall, Punk is about ignoring the rules.

The Misfits recorded plenty of material in the late 70s and are very deserving of a place here. "She" "Bullet" or "Teenagers from Mars" would've been good choices. Perhaps rights issues etc.(like with the Sex Pistols) prevented this?

Also, someone mentioned Social Distortion not being here. Though the band was together in the late 70s, their first single didn't come out 'till '81. Nitpicking aside, the collection gives you a better intro. to the roots of punk than anything else on the market. If you're thinking about getting this, Buy it. Also consider picking up the Sex Pistols "Nevermind the Bollocks" The Misfits "Static Age" and The MC5 "Kick out the Jams".

Stop hesitating
This is an excellent box set of an odd era. When music labelled as "punk" came out, it seemed kind of dangerous and anti-establishment. The loud guitars, short and fast songs, and dangerous band names like The Clash, The Jam, The Ramones, and Television were pretty scary. The funny thing is that many of the songs on this box set have memorable melodies, good harmonies, and fine instrumental work.

As with any box set from various artists, it is easy and fun to second guess the track selection. For example, I think LA punk is completely over-represented. Also I would have liked Plastic Bertrand's Ca Plan Pou Moi and something by the Bizzaros. And where are the Suicide Commandos?

Nonetheless, even if you own half of the songs, stop hesitating and buy the set. It's another quality Rhino product with great sound and a great book.

I Was A Punk Before You Were A Punk - Birthdate: 11/10/57
In choosing to document punk rock, whose very boundaries are still blurred nearly 30 years on, it's certainly forgivable to think that Rhino may well have embarked on a mission that was doomed to failure from the start, both from a philosophical and practical standpoint. Time constraints, licensing snafus (John Lydon purportedly refused to permit the inclusion of any Sex Pistols' tunes - Rhino rates the purchase of "Never Mind The Bollocks" as more essential than this one anyway), and a lot of hand wringing were all undoubtedly obstacles to be hurdled in compiling this four-disc box.

Despite such a daunting task, Rhino for the most part manages to come up all aces on "No Thanks! The '70s Punk Rebellion," dancing a razor's edge by adopting an approach which allows for the inclusion of bands that were originally tagged with the more palatable "new wave" label, crusty, true believers in the cause, and record collector geek-fodder alike. In order to buy into what Rhino is selling, you may have to suspend some of your beliefs as to what "punk" actually is/was.

It's inevitable that most of the attention is paid to the nerve centers of New York and London and except for the Sex Pistols, all of the usual suspects are present and accounted for. The Clash, Ramones, The Damned, The Heartbreakers, The Buzzcocks, Richard Hell, The Stranglers, Television, and Generation X all take a bow (or two) and rightfully so, but kudos to Rhino for looking to other places on the globe, like Ohio (Dead Boys, Devo, and Pere Ubu), Australia (The Saints), Ireland (Boomtown Rats, The Undertones, and Stiff Little Fingers), and Scotland (The Rezillos). Shame on them for including so many songs that were previously available on their "D.I.Y." series back in the early 90's.

"No Thanks!" also lifts a pint to bands without whom this compilation wouldn't even exist, like The Stooges, The New York Dolls, and yes, The Dictators. On the other hand (are you sitting down?), where's the MC5? Another sticking point, for me anyway, is the inclusion of Californians like Black Flag, Fear, Dead Kennedys, The Dils, and The Germs, all worthy of the "punk" brand, but their staunch nihilism is somehow out of place here. I say that disc space would have been better filled with Plastic Bertrand's "Ca Plane Pour Moi," The Professionals' "1-2-3" or "The Magnificent," Chelsea's "Right To Work," or anything by Radio Birdman. Of course I was also fooled by the first few Buster Poindexter albums, so proceed with caution.

Arguing over what rightfully qualifies or doesn't qualify as "punk" may be part of the attraction of a compendium like this. Obvious margin walkers would have to include Nick Lowe, Mink Deville, The Runaways, Blondie, Elvis Costello, The Pretenders, The Soft Boys, and Joe Jackson, all of whom made the cut due to either an abrasive attitude, enduring cult status, a snappy wardrobe, or the right haircut. As for the Talking Heads, I still say the world would have been a better place had they never entered a recording studio.

At the end of the day, though, we should all genuflect to Rhino for their single-minded and undying devotion to their subject matter. And when it comes to packaging and reissues, there is simply no one better. "No Thanks!" contains a 100-plus-page booklet crammed full of essays by producer Gary Stewart and Billboard's Chris Morris, quotes from several of the culprits responsible for the noise, photos galore, and a track-by-track analysis by Ira Robbins and Dave Schulps, whose Trouser Press took up the slack heroically and brilliantly in the late 70's when Creem was going down the tubes. Add to all of this the fact that this box contains tracks by the likes of the Rich Kids, Subway Sect, The Mekons, Alternative TV, and The Pop Group which are getting harder and harder to find stateside, and what you're left with is a no-brainer. At this point in my life, that's a godsend.

Filling In the Blank Generation
I'll keep this review succinct: while one can certainly quibble about the inclusion of this song or that band, "No Thanks" provides an admirable overview of early Punk that spans several continents and stylistic trends. More critically, this isn't some "Greatest Hits" compilation designed to sell CDs and little else -- whoever chose these songs knows the genre intimately. How else to explain the presence of such unknown but deserving artists as Alternative TV, the Mekons, the Dils, the Saints, and Johnny Thunders? If you never got around to picking up the 45s way back when, "No Thanks" will fill many gaps in your collection. And if you were too young to have made it past the bouncers at the Rat or the Mab or CBGBs, "No Thanks" gives a welcome feel for the three-chord catharsis that at the time could only be found in risk-taking dives like these or on a scattered handful of radio stations. For the rest of us: nostalgia for an age yet to come. ... Read more

Amazon.com

One of the more creative, successful tribute albums, A Vision Shared was originally released to coincide with a PBS program that premiered in 1988. Packing some serious heavyweights onto one CD, the record features covers of Guthrie and Leadbelly tunes by, among others, Little Richard, Brian Wilson, Bob Dylan, Bruce Springsteen, Sweet Honey in the Rock, and U2. The 14 tracks consist of mostly well known tunes, and it's fascinating to hear what the artists have done to them. Particularly exciting is a supercharged version of Leadbelly's "Rock Island Line" by Little Richard with Fishbone and U2's take on Guthrie's "Jesus Christ." --Ian Landau ... Read more

Reviews (8)

A vision to the past! Wonderful
I can't think of many tribute albums that work great, but I thoroughly enjoy this tribute to Woody Gutherie and Leadbelly aka Huddie Ledbetter. If you aren't familiar with their music, just listen, you will feel the presence of these musical greats. They had powerful lyrical ballads. And what they had to say is clearly from different cultural backgrounds. Woody Gutherie's folk ballads told of the depression and the journeys traveling across the country heading west to escape the Dust Bowl, while Leadbelly's music reflected on the work songs of poor farmers and immigrants.

Musical superstars are featured here, recorded in 1988, and featured are some wonderful music and captivating stories like the a capella rendition of Leadbelly's "Sylvie" by the beautiful harmonies of Sweet Honey in the Rock. Dylan's "Pretty Boy Floyd"; John Mellencamp "Do Re Mi"; Bruce Springsteen sings "I Ain't Got No Home". Equally entertaining are Willie Nelson singing "Philadelphia Lawyers" and Arlo Guterie's "East Texas Red". Emmylou Harris with her perfect sweet voice is mesmerizing in "Hobo's Lullaby" ....can't you hear the steel rails humming?"

A booklet comes with this CD, and read about Bob Dylan's encounter with Woody Gutherie. Dylan passionately studied who Gutherie was and learned the songs. Dylan said when Gutherie's health was failing he met him and sang Gutherie's own songs to him. Dylan called himself a "Woody Gutherie jukebox."

This is a tribute album that is very entertaining with informative historic storytelling songs and music you can sing along with. I love it. MzRizz

A rare breed: the quality tribute album.
Can't stand tribute albums. Hate 'em! But this little beauty really shines. The secret is in the wide-open, folksy nature of Woody Guthrie's and Ledbelly's work--they wrote songs that are *made* to be sung by other folks, made to be reinterpreted and resung by new generations. The other secret is in the line-up here: great talents, from top to bottom.

When this lp came out in the late 1980s I bought it on a whim. I was in my late teens, and didn't know much about the music. I don't even know why I bought the album. But time and time again, I played it instead of my rock and punk albums. I really endured for a couple of years. I don't play it so often anymore, so I had to give it four stars.

Not much to criticize here: Little Richard//Fishbone's tune is out of place--it's kind of a sour moment in an otherwise sweet ensemble. Willie and Emmylou shine, as do U2. But the album's true gem is by Bruce: "Vigilante Man." It's one of the best recordings the Boss has ever set to vinyl.

Fans of folk, folk-rock, country-rock, southern-fried rock, and alt.country should line up for this one, but even a teen like me who was into punk rock can saddle this horse up for a good long ride.

You Must Buy This...
This is one of my all-time favorite recordings. Much of the music is truly timeless, and they're many wonderful performances. Highlights for me include Springsteen (I Ain't Got No Home), U2 (Hallelujah...not the Cohen/Buckley/Cale version either) and best of all, John Mellancamp (Do Re Mi). I could have done without Arlo Guthrie (heck, I can barely stand to listen to Woody either) and most especially the Brian Wilson cut. God is he awful.

Excellent Compilation
To my mind, the problem with many 'tribute' albums revolves around the selection of particular musicians to perform particular songs. They often do not match well. In this case, the selections were excellent. The result is a wonderful CD that brings out not only the best of Guthrie and Leadbelly but also of the artists covering their songs. Sweet Honey in the Rock open with a warm, evocative rendition of Sylvie. Bob Dylan's Pretty Boy Floyd is as good as Dylan has ever sounded. It is reminiscent in tone and content to his own Hurricane Carter. Little Richard's Rock Island Line was terrific as was U2's Jesus Christ. Springsteen, Taj Mahal, Willie Nelson, Emmylou Harris and Arlo Guthrie round out the CD with other excellent tracks. It evokes the era in which the songs were written. The CD is well worth buying.

Had to have it...
I borrowed this album from my Father-in-Law for a Folk music show I was preparing. After raving about how much I enjoyed it I shouldn't have been surprised when my own copy showed up at Christmas.

This album pays tribute to two great pioneers who truly paved the way for Rock and R&B. The blending of Folk and Blues is easy to listen to and the stories are tremendously compelling.

If you have any interest in Folk or Blues, pick this up. ... Read more

Reviews (78)

Steve's big bluegrass adventure
Like a reviewer below, I'm a hopeless Steve Earle junkie. I've only recently become a fan, but I'm trying my best to catch up. So far I've got Guitar Town, Train A Comin', I Feel Alright, El Corazon & now The Mountain. I've listened to Exit 0 and Transcendental Blues but haven't got them yet. I also have a concert video from the TB tour that kicks butt.

The Mountain stands out from the crowd, for sure. First of all he's writing for a different style - not the country-folk-rock-alternative-bluegrass fusion that we're so used to, but pure bluegrass. We're used to the occasional foray into this idiom (I Still Carry You Around from El Corazon) but a whole album? I can easily see how some hard-core fans might be put off by it at first, I can admit that I was.

When I really started listening to it, however, and realized what a statement it makes about Steve's talent, reputation and guts, I found a new perspective. Who else could pull something like this off? "Gee, I think I'll learn bluegrass, and write a whole album of bluegrass songs, and recruit the most well-respected bluegrass band around to BACK ME UP." The real kicker is, Steve's good enough to pull it off, and Del and the boys are good enough to know he's good enough. 'Nuff said.

"The Mountain" - Essential Steve Earle & Essential Bluegrass
I find some of Steve Earle's albums too diverse ("I Feel Alright", "El Corazon", "Transcendental Blues"& "Sidetracks" are all over the musical map) - but when he focuses on the Country side of things, I love his work.
"The Mountain" is a superb bluegrass album by Steve & the Del McCoury Band - an essential in my book.
Also recommended - "Train A Comin'" & "Guitar Town" by Steve Earle and "Blue Side Of Town", "Deeper Shade Of Blue", "Cold Hard Facts", "Family", & "Del And The Boys" by the Del McCoury Band - 5 Stars all 'round.

Steve Earle should have left the singing to someone else.
This would be 5 stars from me if Steve Earle had left the singing to a real bluegrass vocalist. He has the best back-up band with Del McCoury, and the songs he composed for this production are fair enough. He needs to back off the "corn" accent in his singing because it sounds contrived. And leave out the "Mickey Mouse" intro. I'm glad I bought this second-hand. I hate to think of Steve getting royalty money from me for what I take to be a little joke he is pulling over on the bluegrass fans out here.

Steve brings bluegrass to a wider audience
I was already familiar with bluegrass music when Steve recorded this album, but a lot of people who weren't also bought this album and most were pleasantly surprised at what they heard. To create an authentic bluegrass sound, Steve teamed up with the Del McCoury band, one of the finest bluegrass groups you're ever likely to hear. Steve wrote all the songs, declining the opportunity to include any covers of bluegrass standards. Given all the praise he gives Bill Monroe in the liner notes, it would have added a nice touch to hear him cover one of Bill's songs.

Steve covers a variety of topics on this album, delving into American history to find inspiration for such songs as Dixieland (about the civil war of the 1860's), Leroy's dustbowl blues (set in the 1930's) and Texas eagle (about a train that runs no more). As a contrast to all the songs inspired by history, the title track describes how a mountain is stripped of trees then mined for coal, leaving a trail of environmental devastation - truly a song for the times in which we live. Harlan man is another coalmining song.

There are love songs here too, including I'm still in love with you, a brilliant duet with the under-rated and under-recorded Iris DeMent. Another fine song is Carrie Brown, is about a jealous man who kills her lover and is sentenced to death for his crime. The album closes with the road song, Long lonesome highway blues, followed by the metaphorical road song, Pilgrim, which features a long guest list of harmony singers including Emmylou Harris, Gillian Welch and Marty Stuart among others.

This is one of the most important albums in bluegrass history. Together with Dolly Parton's Grass is blue (also released in 1999), it helped bring bluegrass to a wider audience before the further boost provided by the O brother soundtrack. If you listen to this album, you'll understand why.

Mine, Forever Blue
Personally, I have a deep connection to this album. I gave the cd to my dad to listen to on his way back to San Diego from LA. He called me about an hour after he left and told me that when he dies he wanted "Pilgrim" to be played at his funeral. He died suddenly in May and it was "Pilgrim" that was played at his funeral and reception afterward. The album has several other gems, as well, but this one will always live on in me. I will forever associate it with my dad's spirit. Other than that tune, the rest of the album is also excellent. The dueling banjos, the deft fiddle playing, the hearty mandolin picking all complement Earle's songwriting genius. Here's to Steve... ... Read more

Amazon.com

Cover art, front: a behatted (of course) Dwight, face completely hidden. Back: a shapely, half-nude model sporting a Persistence of Memory-style clock eyeing a sink overflowing with water and calendar pages. Title tune: one of Yoakam's most hardcore Bakersfield 'tonkers. It sits alongside a couple of rockers, a handful of inspired weepers, and two inexorably flowing country-pop numbers ("A Thousand Miles from Nowhere" and "Ain't That Lonely Yet") that deserved every second of airplay they got. He'd be even better when he entered the studio again (for Gone), but the only slouching he does here is in the photographs. --Rickey Wright ... Read more

Reviews (26)

Makes me feel a 1,000 miles from nowhere; a stunning album!
For my money, Dwight Yoakam remains quite possibly the finest country artist around. He's certainly one of the most creative, and whilst he's always willing to try new influences and fresh ideas, he never tries to escape from his roots. Unlike many artists (Shania Twain and LeAnn Rimes the most obvious examples), Yoakam is a country artist through and through.

THIS TIME, is seen by many as his greatest album, and it's hard to argue when you have bonafide classics such as FAST AS YOU, HOME FOR SALE, AIN'T THAT LONELY YET and especially the haunting masterpiece that is A THOUSAND MILES FROM NOWHERE. Dwight's timeless, haunting voice brings every song to life (even on TWO DOORS DOWN, the least memorable track of the album), and his knack of writing simple yet story-filled lyrics is quite simply awe-inspiring.

Superb production by regular Pete Anderson acts as the icing on the cake, and THIS TIME can comfortably rank as one of the best country albums of the 90's, even if in my humble opinion, his best was yet to come with my favourite Yoakam album, A LONG WAY HOME, which acts as the perfect companion piece to THIS TIME.

Classic, timeless country.

His best album......and that's saying a lot.
Probably the number one reason that I love Dwight Yoakam is best contained in this album: he's very reminiscent of older, great country artists that played REAL country music such as Buck Owens, Johnny Cash, and Merle Haggard. In a modern country music world of CMT cookie cutter, top 40 pop music wannabes, DY has struck his own unique path.

As great as *If There Was a Way* and *Guitars, Cadillacs, Etc., Etc.* are, *This Time* has them all beat. This is simply the best collection of songs by DY on any one album. There's a little bit of everything here and nearly all of it is great songwriting.

"Pocket of a Clown" was a big country radio smash and is good but is not one of the gems of the album. I agree with another reviewer that "A Thousand Miles from Nowhere" is not only a great song, but was indeed a fitting ending to the excellent film Red Rock West. As the credits roll, the song is a perfect summing up of the main character's situation. "Home for Sale" is another slowed down song about lost love. The title song is a classic honky-tonker very reminiscent of classic Buck Owens. One of my very favorite songs here is "Two Doors Down". Perhaps there's nothing happy about it, but the feeling that comes through seems genuine. "Ain't That Lonely Yet" is another excellent song that probably sums up a lot of broken relationships. "King of Fools" is good stuff as well and "Fast as You" may be the "rockinest" song on the disc. "Lonesome Roads" is a very fitting ending to the album and always reminds me of something Merle Haggard might have played.

In short, DY has it all going on. The man is simply a great musician with a great voice and he writes and plays songs that actually mean something. What else could one ask for?

they hrow the word Genious around pretty loosley these days.
.
...but in the Case of Mr. Dwight Yoakam, the term Genious fits like a good pair of Tony Lama cowboy boots
.
My favorite artist, and the best from his amazing canon of work.
.
1,000 Miles from Nowhere
.
&
.
Ain't That Lonely Yet
.
...these are his two best songs.

Eveything he does is good, but if you're gonna get loaded on Yoakam, may as well start with the best stuff.

Rockin' Good Psycho-Billy Music
Dwight Yoakam never compromises who he is. But he is also never afraid to remake himself.
For me this was a watershed Dwight album. This is the time in the career of Yoakam when he really began to cross over. I can remember seeing his, "Thousand Miles From Nowhere" video on MTV during this time. Pretty Surrealistic!
Something about Dwight just crosses the line and appeals to a diverse group of music fans. You wouldn't think that non-country fans would like someone with the style Dwight has they do!
This album is more Rolling Stones than George Jones. But it is still true to it's country roots.
The album is loaded with great songs...
"This Time" is a honky tonker with the Bakersfield sound. The Floyd Crameresque piano is especially nice. The mind bending guitar riffs also add character to the song.
I always laughed at the psycho-billy tune, "Pocket of a Clown."
I like the way Dwight looks at the world in a very slanted way.
The radio hit, "Ain't that Lonely Yet" is very interesting when you listen to it in the light of the failed Dwight/Sharon Stone relationship.
"Fast as You" is the song I think of the most when I make the Rolling Stones reference. The driving guitars and wailing keyboards give it a rock and roll feel. You can't help but tap those toes when you listen to it.
"Wild Ride" is yet another rocker... This album has it all.
"Two Doors Down" has that classic country sad song feel.
Dwight truly put a diverse album together. It is one of my favorites!

This "Rock and Roll" guy likes Dwight.
I have to say that most country music makes me ill. But there's just something about Dwight that says "cool". This album came out at a good time in my life, and was actually released the day I turned 21. My first taste of Dwight was during the credits of the movie "Red Rock West" staring Dennis Hopper, Nicolas Cage, and Dwight. "A Thousand miles from nowhere" played as a train rode off into the Rocky mountain distance. I loved it so much that I got the cd and came to enjoy almost all of it. Of 700 cd's, my only country discs are Willie, Johnny, and this one. Im sure anybody would find something to like of Dwights, and if you don't get this, you might like "Last chance for a thousand years", his greatest hits of the 90's. And to top off his great music, he also likes acting, and Elvis. Cool. ... Read more

Amazon.com essential recording

Pulling out all the Nashville stops, k.d. lang's 1988 album is a meticulously crafted work, her bid for mainstream country acceptance, and an homage to her idol Patsy Cline. Surrounded by the brilliance of Owen Bradley's string-laced production and a host of legendary pickers (Buddy Emmons and Pete Wade) and singers (Kitty Wells, Brenda Lee, Loretta Lynn), lang's voice soars and moans like a dove. After the lush Chris Isaak-penned opener "Western Stars," lang follows with more-familiar country writers, from Roger Miller ("Lock, Stock and Teardrops") to Harlan Howard ("I'm Down to My Last Cigarette"). Both a commercial (the album went gold) and artistic success, Shadowland ranks as one of the best country records of the 1980s. --Roy Francis Kasten ... Read more

Reviews (17)

One top voice
Kd Lang is ,in my opinion,the best North American female voice of her time.But not all of her Cds are as satisfying as this one.This one shows the Nashville influenced side of Kathryn Dawn Lang as arranged by Owen Bradley who also produced Patsy Cline.In songs like BLACK COFFEE,the title track and I WISH I DIDN'T LOVE YOU SO she passionately and contemporarily delivers tunes written way before her time.She sings DON'T LEt THE STARS...a 50's hit with
unique vigor and belts out the CHris ISaak penned WESTERN STARS so appropriately as the disk opener.It was the first Kd Cd I ever bought and what an introduction it was!

K.D.Lang - The Midas Touch
Shadowland is subtitled 'The Owen Bradley Sessions' for good reason: Owen Bradley is one of the main people responsible for the evolution of the Nashville Sound. He minimized the use of fiddles and steel guitars while emphasizing strings and backing vocals. Bradley's production ideas gave artists such as Eddy Arnold, Kitty Wells, Marty Robbins, Patsy Cline, Brenda Lee and Loretta Lynn crossover appeal. Once considered 'hillbillies,' artists became popular both in the Country and Pop Charts. K. D. Lang has always had the Midas touch: everything she touches (including Shadowland) turns to gold. Shadowlands is a country CD for people who don't like country music. K. D.'s voice is sultry, smoky and pleading. Favorites include 'I Wish I Didn't Love You So,' 'Shadowland' and 'Tears Don't Care Who Cries Them.' Can anyone do loss-and-heartache better than K. D. Lang? Not for my money.

We're Justifiably Proud of k.d. Here In Her Native Canada
What a magnificent voice. One which alternates between taking a pure Country song to new heights, delivering pop like no other [who can forget her duets with Tony Bennett and Roy Orbison], and even taking charge of hard-core Soul and R&B. You simply cannot pigeon-hole k.d. lang.

The other reviewers have more than adequately covered the selections presented in this album, produced by the legendary Own Bradley who passed away ten years after its release at age 82. But I would just like to add that the last track, featuring k.d., Loretta Lynn, Kitty Wells, and Brenda Lee as The Honky Tonk Angels, pulls together in one of the most memorable performances three classic songs from the past.

The opening bars present In The Evening (When The Sun Goes Down) which was a 1949 R&B hit for both Jimmy Witherspoon and The Charles Brown Trio. From there they break into the Ernest Tubb 1948 classic, You Nearly Lose Your Mind, and then smoothly transfer to Blues Stay Away From Me, first done by Eddie Crosby in 1949, and then a year later by The Delmore Brothers and, for my money anyway, the best version of them all by The Owen Bradley Quintet with vocals by Jack Shook and Dottie Dillard.

In the insert you get a full page written by Mr. Bradley, a number of photographs, including one with him and the Hockey Tonk Angels, and a track-by-track listing of the musicians involved on each cut.

An album that will one day rival Carole King's Tapestry in the legends of recorded music.

Updated country sounds from a powerhouse voice
You don't have to like country music to appreciate k.d. lang's extraordinary talent. Produced by country veteran Owen Bradley, this was arguably the recording that put her on the map, with Bradley's super-polished array of songs highlighting her crystal-clear instrument and winning her millions of new fans. Since this CD, she has ventured far and wide, but to many, this will be remembered as the project where it all began.

The title track sets the tone, tapping into country music's wells of melancholy, although Lang's demeanor, persona and voice can't really be put squarely in the country camp. Her influences are much broader, including contemporaries like Chris Isaak, whose suave "Western Stars" opens the disc. Throughout, lang mixes hardcore country -- check out the opening chorus in the lovely "I Wish I Didn't Love You So" -- with what might be characterized as "1940's lounge," and sounds glorious. She could be equally at home in a smoky night club or at Nashville's Grand Ole Opry.

By the time the stunning "Busy Being Blue" arrives, you may think you've never heard a voice like this. After a quiet introduction, the song builds until lang is completely engulfed in a rapturous, torchy wail. This is simply great singing, whatever genre. The final track, "Honky Tonk Angels," features Loretta Lynn and Kitty Wells, whose winsome, plaintive harmonies end the set on a sentimental high note.

The recorded sound is beautifully clear, fully capturing lang's huge cries as well as her quieter moments of lazy sensuality. From an artist who has done many fine recordings, this is one of her best, with influences new and old, and also one of the great recordings of the 1980's.

"Shadowland" & "Drag" are my favorite k.d. lang albums
I'm writing this because of how often we (I) hear music on the radio, like the band or artist, decide to buy an album, look them up, and discover there are 30 records. I flip through the reviews, mostly written by ardent fans, until I'm exhausted of the task. I buy one and maybe I don't like it; I buy another and maybe I don't like it either. Then I give up.

So... if you've heard a little k.d. lang, think you might like her and want to buy an album I'm writing to say that Shadowland and Drag are the two, of hers, that I like most. Not "Ingenue" which seems to be others' favorite (too boring) and not "Absolute Torch and Twang," in which, frankly I don't hear *absolute* torch nor twang the way I do in "Shadowland."

"Shadowland" has country music in its blood. Not bluegrass or Hank Williams country, and not recent-pop country. Lang has a style all her own. "Waltz Me Once Again Around The Dance Floor" makes me want to, and "Tears Don't Care Who Cries Them," beautifully sweeping, makes me want k.d. not to be the one crying.

This album has some faster (not extremely fast) songs--in a country, guitar, groove way--and it has slower, sweet, and smart songs of love and love lost. My husband commented to me that it sounds a bit 1940's to him; I'd go along with that.

I wouldn't hesitate to start with "Shadowland" as an introduction. I give 4 stars rather than 5 because, to me, 5 is perfection. 4 stars is the highest without eligibility for the Nobel Prize. Try out "Shadowland" if you're looking for some country-based music with a very female and surprisingly beautiful voice that is lush and interesting. k.d. lang has personality and her voice is truly quite lovely. ... Read more

Reviews (1)

If you like Cajun and Zydeco, you're gonna love this.
As a fiddle player, I envy the capability of guys like Michael Doucet and the Ragin' Cajun,Doug Kershaw. Their music inspires and this CD has lots of their style! Great stuff. ... Read more

Amazon.com

The Thrills' debut, So Much For the City, was a genuine bolt from the blue--a sunny West Coast pop album recorded by five boys who grew up in dreary Dublin, Ireland. It's inevitable that some of the novelty fades on the follow-up. Yes, the introduction of syrupy strings and fussy production touches has darkened the air. And the album art, unlike the atmospheric picture on the cover of its predecessor, hardly sets a proper mood. Yet there is still something quite wondrous about Let's Bottle Bohemia. At its best--the dizzying harmonies of "Whatever Happened to Corey Haim?," the epic sadness behind "Not For All the Love in the World"--there is evidence of a band joyously kicking against the sophomore album syndrome. --Aidin Vaziri ... Read more

Album Description

Digitally remastered two-on-one of their first two LPs,1968's 'The Gilded Palace Of Sin' & 1969's 'Burrito Deluxe',the only albums they did with Gram Parsons. The line up herealso includes ex-Byrds Chris Hillman & Michael Clarke, plusthe Eagles' Bernie Leadon. 22 tracks total, including 'SinCity', 'Christine's Tune' and 'Dark End Of The Street'. 1997A&M release. ... Read more

Reviews (4)

Byrds breakaway group starts brilliantly
The Byrds underwent many line-up changes but the line-up that recorded the classic Sweethearts of the rodeo album didn't last long even by Byrds' standards. Two of its key members, Gram Parsons and Chris Hillman, quit and formed the Flying Burrito Brothers. This twofer contains their first two albums.

The first album, Gilded Palace of Sin, is regarded as a landmark album in the evolution of country-rock, almost as important as Sweethearts of the rodeo. Despite the label country rock, this album actually contains a few soulful ballads. On this album, the group comprised Gram Parsons, Chris Hillman, Sneeky Pete Kleinow and Chris Ethridge. Most of the songs are originals, though the album also includes brilliant covers of Dark end of the street and Do right woman.

Even if you haven't heard the Flying Burrito Brothers before, you may be familiar with some of the songs, particularly because Emmylou Harris (a staunch fan of Gram's music) has covered some of these songs ' her versions of Wheels and Sin city can be found on her Elite Hotel album. The album begins with the rocking Christine's tune (sometimes titled Devil in disguise, but that confuses it with the Elvis song of that title). Other great tracks here include Juanita and the two Hot Burrito songs.

Burrito Deluxe does not match the exceptional standard of Gilded palace of sin, but it is a far better album than some people would have you believe, and its style is very different. The soulful ballads are gone (apart from Image of me), replaced by rock'n'roll ' but that's fine by me. The album was difficult to record, partly because Gram became a bit wayward and partly because of further line-up changes. Chris Ethridge had left, replaced by Bernie Leadon (who went on to greater fame as a member of the Eagles) and Michael Clarke. This album also featured a few guest musicians. Like its predecessor, many of the songs are originals but there are some covers ' in this case, the traditional gospel song Farther along, the Rolling Stones' Wild horses and the Bob Dylan classic If you gotta go, which was a huge British hit for Manfred Mann.

Neither of these albums sold well upon original release but their influence has been profound. This collection will appeal to country fans who also enjoy rock music, but will also appeal to many who do not like (or think they do not like) country music, including fans of the Eagles' early work.

The Holy Grail of Country Rock
When Gram Parsons left the Byrds after recording only one album with them (the essential Sweetheart of the Rodeo in 1968), he took with him founding bass/guitar player Chris Hillman. Together, along with Sneaky Pete Kleinow on pedal steel and Chris Ethridge on bass, they proceeded to record one of the landmark country-rock albums: 1969's The Gilded Palace of Sin.

The album kicks off with two Parsons-Hillman originals: the classic "Christine's Tune" (aka "Devil in Disguise") followed by the equally impressive "Sin City." Over the course of the next nine songs the band pursues what Parsons called "cosmic American music." It's a stunning debut. They put their own stamp on the haunting "Dark End of the Street." The draft-dodger anthem "My Uncle" is propelled by Hillmen's mandolin picking. Then there's the lovely "Juanita" with its ironic line: "She's brought back the life that I once threw away." [Within five years Parsons demons would catch up with him.] Only the preachy "Hippie Boy" hasn't aged very well.

Tracks 12-22 saw a band that had expanded to include a full-time drummer--Michael Clark, another ex-Byrd, and future Eagle Bernie Leadon on guitar and Dobro. Hillman resumed bass duties with the departure of Chris Ethridge. This is the second and final album to include participation from Parsons. Unlike their debut where Parsons wrote or co-wrote all but two tracks, Parsons only contributed four songs to the 1970 follow-up. The rollicking "High Fashion Queen" and the melencholy "Cody, Cody" (both co-written with Hillmen) hold up well against the best of his work. Their treatment of the standard "Farther Along" is moving and their cover of the Stones' "Wild Horses" is nearly definitive. While Burrito Deluxe is not quite as good as the debut, these two albums together are the touchstones for every country-influenced band that followed the trail they blazed. ESSENTIAL

Brilliant country/rock at it's finest
When The Gilded Palace Of Sin was released in 1969, it sold only 50,000 copies. But when you look at who they influenced, it seems as if every one of those 50,000 people went out to form a band, similar to what happened after the first Velvet Underground album was released a few years earlier. Burrito frontman Gram Parsons basically invented country/rock as we know it, and made it most evident on the very succesful Byrds release "Sweetheart Of The Rodeo." After that, Gram Parsons and Byrds bassist Chris Hillman decided to go and form their own band, and these are the results. The fact that they were a country band, didn't stop them from doing Aretha Franklin's "Do Right Woman" and writing songs that don't necessarily sound like pure country. Gilded Palace Of Sin is definitely the better album here, but Burrito Deluxe is also an interesting listen. Featuring Conway Twitty's "Image Of Me" and The Rolling Stones "Wild Horses" (featuring Leon Russell) on piano. These albums went on to define a genre of music, inspiring artists from yesterday (The Rolling Stones, Elvis Costello, Tom Petty & The Heartbreakers, The Eagles) and now (Wilco, The Jayhawks, Whiskeytown, REM)

A fiiting testament to Gram Parsons.
Gram Parsons influence on the emerging country rock scene is clearly evident on this double release of the first two Burrito brothers albums. Gilded Palaces is the stronger release spoilt only by the rather dreary Hippie Boy. The second album is less dynamic but nevertheless remains a fitting testament to the memory of the much missed Gram Parsons. ... Read more

Reviews (8)

They just keep getting better
I began listening to Reckless Kelly in 1998. I thought their first album "Millican" was excellent and had trouble taking it out of my CD player. Aside from the Mermaid Avenue discs, I thought it was one of the better alt-country CDs of the late 1990s. After numerous times listening to their sophomore effort "The Day" I begrudgingly admitted to myself that I enjoyed it even more. "Under the Table" raised the bar even more. Although they have always seemed talented beyond their years, the level of musicianship and songwriting took a noticable leap with this disc. They seem to have matured (no signs of anything like Crazy Eddie's Last Hurrah and Time Bomb, great songs though they are) and yet they still seem to not be taking themselves too seriously. They are the true embodiment of alt-country, good twangy guitars and fiddles with undercurrents of roots, blues and rock. If you liked Uncle Tupelo or any of the various offshoots or have an appreciation of true country/roots rock you will really enjoy this album. And if you get a chance to see them live, do not pass it up under any circumstances. Aside from an excess of cover songs in the last half of the set it is one of the better live shows out there.

Under the table
This cd gets better everytime I listen to it. The band puts on a great live show to match their cds. Reckless Kelly gets the job done.

Fresh modern country rock
If you're a fan of Steve Earle you shouldn't overlook this album. Reckless Kelly have adopted the Earle style and the singer even sounds very much like the old country rebel. In the booklet, Robert Earl Keen writes an introduction in which he really praise Reckless Kelly and I'm bound to agree. The album starts with two very catchy and melodic alternative country tunes with a fair amount of rock. The rest of the material is a mixture of faster and slower songs with hooks and melody in common. The country music style is always present but it doesn't sound as slick as modern acts like Shania Twain or as old as the Nashville tradition. I believe Reckless Kelly is the perfect bridge between the old and the new sound. If you like Steve Earle, Joe Ely, Robert Earl Keen among others, I can almost guarantee that you'll also find this album enjoyable. Dedicated fans of Jayhawks, Scott Miller, Whiskeytown and Ryan Adams might also like this attractive effort from Reckless Kelly.

they call themselves hick rock!
This is such a great cd! It is worth every penny, and then some! These guys are awesome, extremely talented, and not to mention good looking! Reckless Kelly is an awesome live show.... GO if you have the chance, it will be the best live show you have EVER seen! You will not regret it!

An Incredible Triumph
Under the Table & Above the Sun gets my vote for CD of the year (2003)! It is really that good. It's the kind of cd that once it finds it's way onto your player, you never want to take it off. You'll want to hear it over and over. The sound is uniquely real and alive, great writing, musicianship and production. Not a clinker in the bunch.
Highest recommendation and a request to radio program directors everywhere to give this a listen and some very well deserved airplay. ... Read more

Amazon.com

The British Invasion of the mid-1960s was so pervasive that it didn't take much more than a modified pudding-bowl haircut and appending "Sir" to your name to make a substantial portion of the record-buying public think you were one of those hip, loyal-to-the-crown blokes just then dominating the airwaves. But "Sir Douglas" was actually Texan Doug Sahm, and the Quintet owed less to the Beatles than to Tex-Mex border sounds--the hybrid of rock, country, and conjunto that Sahm seemingly absorbed like a sponge. This collection picks up after their early regional successes (and the shuffling gem "She's About a Mover"), spanning the period from their national breakthrough, "Mendocino" (with its sparkling Farfisa organ fills by Augie Meyers) through the mid-'70s. In between, Sahm and company mirrored the hippie-driven musical eclecticism of the era in his own idiosyncratic way. In fact, the music herein is the roots of Sahm and Meyers's beloved Texas Tornados, as attested by tracks like "Nuevo Laredo," "Let's Go to Mexico," and "Texas Tornado." If joyous musical border-hopping is your pleasure, look no further. --Jerry McCulley ... Read more

Reviews (9)

A real treasure
Everyone I play this for falls in love with it.

Is This The Sound of Texas?
There are varying opinions as to what exactly is "The Sound of Texas", musically speaking. Is it the prototypical rock & roll of Buddy Holly & the Crickets, the psychedelia of the 13th Floor Elevators, or is it the Texas Boogie of ZZ Top? Is it the rich Texas blues tradition of Robert Johnson (his recording sessions took place in San Antonio & Dallas), T-Bone Walker, Freddie King, Albert Collins, Clarence "Gatemouth" Brown, Lightnin' Hopkins, Johnny Winter, and Stevie Ray Vaughan, or is it the Western Swing of Bob Wills? Is it the classic country of Willie Nelson, or is it the classic country of Townes Van Zant? Is it the conjunto of Flaco Jimenez, or is it the conjunto of Steve Jordan? Is it the virtuosity of a Van Cliburn rendition of Rachmaninov's 3rd Piano Concerto, or is it Joe Ely's hard partyin' South Plains rockabilly? The truth is that all are concrete examples of the many "sounds" of Texas (notice the plural). However, if there is one specific artist who conveys the myriad Lone Star musical styles, mixes them and serves them up big with loads of Texas flavor like a pound of "carne asada con arroz y frijoles" and lots of salsa & tortillas not to mention an ice cold bottle of Pearl beer, then it's gotta be the late great Doug Sahm.

THE BEST OF DOUG SAHM & THE SIR DOUGLAS QUINTET is a remarkable compilation. If your a newbie to this San Antonio native's artistic genius, then this is the collection you'll want to start out with. It gathers the very best of Doug's golden era, 1968 - 1975. Although the Sir Douglas Quintet story actually begins in 1965 with the Tribe recording sessions produced by the Crazy Cajun Huey P. Meaux, which yielded the classics "She's About a Mover" and "The Rains Came", the SDQ songs captured on this compilation show a more musically mature and much more adventurous band at work, and they show why no label could be ever placed on Doug's music. There are also treasures from his early solo work. "Mendocino" is essential SDQ with Augie Meyers' priceless Vox organ leading the way back to South Texas from San Francisco. "Song of Everything" is reminiscent of what Ornette Coleman might have sounded like at the Fillmore West. "So Glad for Your Sake (But I'm Sorry for Mine)" and "Wasted Days & Wasted Nights", the latter penned by Freddy Fender, show the R&B style that was among Doug's earliest influences. "Be Real", which Doug released in 1970 as a country single in Nashville under the pseudonym Wayne Douglas, shows Doug to be among the finest vocalists that genre as ever seen or heard. Another country song, "Texas Me", drives home that point as Doug vents his pain from being homesick for the Lone Star State. "Is Anybody Goin' to San Antone?", featuring Bob Dylan, is from Doug's all-star album DOUG SAHM & BAND, yet another example of Doug's extraordinary skills as a writer & arranger. Of all the songs in this collection, perhaps this one says "Texas" the most. "The Gypsy" shows that Doug must have been a big fan of Louis Prima, and exhibits yet another element that influenced his style, what Doug called "that stridin' thing". What about the blues? T-Bone Walker's "Papa Ain't Salty" is given a seriously raw but textbook reading from the SDQ, and Doug shows off his scat-guitar skills on the equally raw "West Side Blues Again". He had serious skills at that! "In the Dark" shows off a fantastic and tight horn section, and as blues singer Doug is simply "da man". "Michoacan", from the 1972 motion picture CISCO PIKE, is an authentic South Texas polka and shows why the Chicanos changed Doug's last name to Saldana. A real treat is "I'm Not That Kat Anymore" from 1975 and Doug's brief tenure with Casablanca Records; it's kinda funny when you think about Doug Sahm being label mates with Parliament/Funkadelic and Kiss. It is quite possibly the most difficult song in the collection to even attempt to categorize.

Doug Sahm may have left this Earth, but he lives on forever thanks to compilations like this one, and also thanks to the re-release of his SDQ back catalog available on import as well as posthumous releases of his earliest work as a bandleader in San Antonio, his work with the Texas Tornados, and his last solo album THE RETURN OF WAYNE DOUGLAS. If one had to describe Doug in only a few words, take a line from his song "At The Crossroads", -"You just can't live in Texas if you don't gotta lotta soul..." Doug had more soul than the rest of us could ever imagine. Get this CD and listen for yourself.

Only one Doug....
Doug Sahm took his San Antonio country musical upbringing and headed to the Bay Area in '66. He proceeded to cover more musical ground than any other artist ever tried to do, and all without losing his Tex-Mex roots! An album I will never grow tired of listening to. Doug, you really knew how to blow our minds!

Almost makes me wish I was a Texan.....I said almost.
Picture this ya'll ; a hippie minivan chopped and channeled lowriding with a '68 Camaro Z-28 front end welded onto it cruising through the Texas border country with a T-Bone Walker-Flaco Jimenez compilation 8 track blasting from the oversize rear speakers. Still with me? I hope so. Of course you'd wanna be along for that ride! Well this is as close as you're gonna get. No compilation short of 10 CDs is gonna capture the magic that was the late great Doug Sahm, but here's a great place to start. From the opening notes on Augie Meyer's Vox organ intro to "Mendocino", through the twin fiddle fun of "Is Anybody Goin' To San Antone",on past naive hippie experiments and honest to god Texas rhythm and blues, Sir Doug was the real deal. His passing last year left a real credibility gap in what passes for American roots music these days. You owe it to yourself to check this man out. When an Okie wishes he was a Texan....well, then some kind of transcendence has taken place. Doug Sahm is that good. Bless ya Doug, and thanks.

Catch a man on the rise
If you consider yourself to have an eclectic taste in music, meaning your CD collection runs the gamut from country to rock to jazz to soul, this CD is a must for you. Sahm's music cannot be catagorized. It's all here, a virtual smorgasboard of musical styles melded together into a style that is Doug's own. ... Read more

Amazon.com

Margo Timmins is one of the more ponderous singers in all of rock. Her elegant, yearning vocals are still soothing listeners into a false sense of security as she downplays human disaster scenarios, trailer park homicides, and anxious couplings on the Cowboy Junkie's tenth studio album. But this time things sound a little more raucous; the Canadian band displays a bit more grit and primitivism, especially on a track like "Why This One," which strangely sounds like a rather sluggish Peaches track, without the cursing. Beneath this band's graceful posturing lies a deep discontent and anger, but band lyricist Michael Timmins manages to once again turn that gentle simmering fury into poetic grandeur. --Jaan Uhelszki ... Read more

Reviews (8)

Amazing band
There are few sure bets in life, but one of them is that the Cowboy Junkies make some mighty fine music. They just keep getting better and better. Musically, this is probably their most palatable since 1996's Lay It Down - 10 great sounding songs from the first spin. Lyrically, most of these songs will take quite a bit of time to understand, as is the case with the rest of their catalog. They continue to write songs that explore deep "life" issues - gothic and grotesque at times, like a Flannery O'Connor novel. On this album, "children" is one of the themes to explore. Some deep studying for those interested, and some ear candy for those that are not.

If possible, I highly recommend picking up the bonus disc of cover songs and their CD-ROM, Anatomy of an Album (only through their web site - www.cowboyjunkies.com). The cover songs are the exclamation mark, and the CD-ROM gives very detailed information for each of the songs. You not only get to read the story behind each song, but you get to hear earlier demoes and how each song progressed.

Catch them on their Long Journey Home Tour this summer and you should hear a newer version of The Slide.

Specific for the bonus disc
Having read the reviews for "One Soul Now" I tend to agree with what has been said, and will probably rate it five stars when I get around to hearing it:-) But for now I can't get past playing the bonus disc of covers, it is so damn good!! I sometimes stop and wonder if music these days has really progressed since the genius of the Cream, the Beatles, the Byrds, the Stones, Led Zeppelin etc. But Cowboy Junkies have got what it takes to make it to the top. Just listening to this EP bonus disc says everything there is to say about real soul music.

So ignore this review in terms of the main CD. But don't worry, if you can get the bonus CD alone, your day will be made.

the whole thing shifts
for those who've followed the junkies thus far, saying this is a deep, elegant slice of southern gothic rock-folk is going to be nothing new.

but that's what it is. falling somewhere a little closer to "lay it down" than "open", this album contains the latter album's long washes of cure-influenced guitar feedback, and instead channels it towards an obvious lambchop influence which turns the more uptempo numbers on this album into near-bar band rock.

but don't think this is a "happy" junkies, oh no: have you EVER known a cowboy junkies album to take five songs' worth of unfolding to reach one song that sounds like it could possibly be a single? "stars of our stars" seems to be the only true "uptempo" number on here. there's a lot of deep, dark territory to explore, and though i liked "open" better for its immediate expanse of dark chasms...there's a wide crevice here for fans to dive into.

They just keep
I'd like to say that the Junkies keep getting better and better. Nope. And this is a good thing. I need some things to pop up and bite me with a beautiful consistency. One Soul Now is a breath of fresh musical air with Margo's sexy, sedated voice and the other Timmons rocking out in their fuzzy, bluesy, river rat kind of way-sometimes I hear Neil Young in those licks and other times just a bar band flipping off the gloss of over-production and jamming out.
Some tunes on this one are downright bouncy. I don't find the story telling of the lyrics quite up to par. The last song about an indescriminate God seems too contrived and musically not strong enough as the other nine songs.
And why not put the extra disk on the first disk and give us our money's worth?
Just once I would like to see a real fine Producer grab Timmons by the-um-throat and say let me produce an album, push you a little, tell you this song isn't strong enough, let's feature Margo on this one a little more. You know, this song sounds too much like that song from...It won't happen. I love them though and when I was walking the beach last week my two little kids filled my shorts with shells from the Ponce Inlet jetty and while the Junkies new one was blaring through my IPOD I started singing, "Rally Round the Family! With a pocket full of shells!"
I think that's the way these Timmon's would be if you were to step in try to change them in any way.
So be it. I'll buy everything they put out.

A guitar to paint a picture with his sister to tell a story.
Cowboy Junkies have become a staple of my music collection. Their longevity has not diminished their musical ability nor their perspective. They are as relevent as ever, and continue to be overlooked by the Music Industry, but not the fans that allow them to play Wolfe Trap in VA or tour Europe on a fairly regular basis.

Sublime in it's sound, Michael Timmins continues to use his guitar as a weapon, with his notes lurking in the woods, waiting to come grab you. His lyrics on this album, which his sister faithfully sings, are more introspective. As on other albums, his characters continue to struggle w/ Christian Spirituality in a modern cruel world. He never completely rejects it, but rather comes across as honest with it's shortcomngs.

Timmins continues to use his guitar to paint a picture, and his sister to tell a story. The story may come out meloncholy, but one walks away from each song and sound wondering if there is a lesson to be learned. In a world where image is everything, it s good to hear a message delivered or a story told by a band that is low key and is strong enough to allow their music to stand on it's own.

I recommend this album and wish the band continued success. ... Read more

Amazon.com

Time was when pop radio was an amazingly eclectic place. The Mavericks' latest, Trampoline, bounces between pop styles so effectively that it almost sounds like the world's greatest old-school pop station. "Tell Me Why" is brassy blues-soul like B.B. King was scoring with in 1970; "To Be with You" is countrypolitan down to its strings and backing choir, while "I Don't Even Know Your Name" could be a long-lost Hollies recording.Throughout the disc, we're offered touches of everything from Beatles-esque sitar to Herb Alpert horns, and all of it's pure, powerful pop. The standout, though, is"I've Got the Feeling," which captures the sprawling sound of '70sElvis with all of the sincerity and magnificence required, and without a jumpsuit in sight. --David Cantwell ... Read more

Reviews (39)

Another Landmark Album for the Mavericks
This album demonstrates that the Mavericks are to country music as the Beatles were to pop in the late 60's. Each album beginning with their second effort (From Hell To Paradise) show's the band's willingness to evolve and try new things.

They have pulled it off once again with Trampoline, exhibiting a unique ability to segue synergistically from track to track, culminating in the years best solo "Dream River".

As with each of their earlier albums I was initially disappointed. Upon listening a second, third, . . . umpteenth time, the album, like it's predecessor's, remains in my CD player for repeated play day after day.

Their ability to blend Latin rhythms, big-band swing style beats, and the awesome vocals of Raul Malo produces the most artistic works of contemporary music. The addition of the horn section on several tracks provides the glue that brings it all together.

"Dance The Night Away" is a killer dance song that Canadian dance bands have quickly incorporated into their repertoire. These are the same bands who still play the 30 year old classic "Brown Eyed Girl".

This is a must buy no matter what your tastes, (pop, country, swing, alternative) - the Mavericks redefine "cross-over".

Perfection
"Perfection" is the rating a CD gets when every song is a gem; when you want to skip around to your favorite tracks, but can't because they're ALL so good. I heard the Mavericks perform "Save A Prayer" on TV before this album was released and I haunted my favorite stores until I found it. I bought the CD for that track, but keep the CD in my player for all of the others. "Dream River" is so beautiful, it almost brings me to tears. If you're looking for pure country, don't buy this album. If you're looking for pure pop, don't buy this album. But if you're looking for top-quality music, don't pass this album up!

fantastic!
The Mavericks once again showcase their extraordinary music talent. Upbeat "Dance The Night Away" makes this album worth getting. "I Should Know", "Someone Should Tell her", "I've Got This Feeling", "I Hope You Want Me Too" and "Melbourne Mambo" are excellent tunes. These songs are comprised of many instruments including: trombone, trumpet, saxophone, keyboard, bass and lead guitar, drums, etc.. The Mavericks separate themselves from, well, everybody because they have a deep range of instruments. If you're as discouraged as I with bands that work with nothing but guitars and a set of drums, this album is just what you need.

An Excellent Up-Tempo CD
I first became interested in The Mavericks when I saw the music video for the song "Dance tht Night Away", so I searched for the disc that contained that song, which led me to "Tramploine". I must say, I was extremely happy when I heard the other songs on the CD as well. Of course, "Dance the Night Waay" is my favorite, but "I Should Know", "Someone Should Tell Her", and "I've Got This Feeling" are good, too. Raul Malo's strong voice really makes this CD enjoyable to listen to, and the insturmentals from the other band members are first-rate. I highly recommend this great CD. Listen and find out what makes The Mavericks one of the best country groups around.

A fitting end to the Mavericks era
Raul Malo is a gifted, powerful vocalist and musician and the Mavericks have always been a showcase for his talents so it's not surprising that the group eventually disbanded. During their tenure, the Mavericks released several wonderful albums and I love them all. However, 1998's TRAMPOLINE revitalized the band's stylistic fusion of power pop, country-rock, honky-tonk and Latin music. TRAMPOLINE is absolutely the least "country" album the band has ever recorded, but it's the uniqueness of the sound that makes it such a mesmerizing work. Throughout the CD, we're offered morsels of everything from sitar to horns, from the Beatles to Sinatra, from up-tempo dance tunes to slow sultry ballads. The standout track for me "I've Got This Feeling" although "Dance The Night Away," "Fool #1,"To Be With You," "Dream River" and "Tell Me Why" are also favorites. ... Read more

Amazon.com

For much of this album, his 16th in 26 years, Hiatt reunites with hisbest band, the Goners, and takes a giant leap back to his still-hungry days as ajag-edged,Costello-esque rockerwhile hewing to the soulful, blues-based songwriting he perfected on 1987'sBring the Family. Thewithering pub rock of 1979'sSlug Line--as well as anod to fallen hero Dale Earnhardt--seeps into the title track, while the roaringguitar, courtesy of the brilliantSonny Landreth, and tightrhymes of "All the Lilacs in Ohio" suggest the streetwise edge of 1983'sRiding with the King. Butit's with ballads such as "Something Broken" and "Come Home to You" that Hiatt'smusicianship, songwriting, and deeply soulful vocals truly convince and offerthe most moving moments on this, his most memorable album in many years.--Roy Kasten ... Read more

Reviews (48)

Happy Hour at Hiatt's Tiki Bar
Following on the heels of "Crossing Muddy Waters," "Tiki Bar" signals John Hiatt's return to the electric guitar. Recorded with The Goners (his old band), Hiatt's new album is joyfully noisy and genuinely peremeated with bluesy soul. From the boisterous opener, "Everybody Went Low" to the thoughtful closer, "Farther Stars," it is clear that Hiatt has crossed his muddy waters and landed on the shore of straight ahead rock. Featuring his usual quirky, yet brilliant, lyrics, "Tiki" shows that Hiatt is having a helluva lot of fun as he grows older. Solid from top to bottom, this album ranks up there with Hiatt's best work ("Bring The Family," "Stolen Moments," "Slow Turning," and "Walk On), and it should garner the maestro quite a few new fans. It's about time Hiatt got the recognition he deserved. There is no filler here; Hiatt delivers the goods just like he has always done.

One step forward, two steps back
The heights on this record are high, high, high -- "All the Lilacs in Ohio," spun from the line in Billy Wilder's Lost Weekend, has the great rave-up quality of JH's best story songs -- think "Good as She Could Be" and "Tennesse Plates." "Everybody Went Low," the album-starter, is also great, and "My Old Friend" is up there with JH's standby home-and-hearth songs, like "Slow Turning" and "Real Fine Love." The best songs on the record show the savvy wordplay that has marked John's best work. But at times this record feels a bit like a rummage sale, as seen by John finally getting around to recording "I'll Never Get Over You," written more than ten years ago... and "The Tiki Bar is Open" and "Farther Stars" are about as bad as the worst of Little Head, bar none John's worst release after his wonderful turning point of Bring the Family. There's enough here for hard-core JH fans, but after the watershed moments of such songs as "Only the Song Survives" and "Miles Before I Go" on last year's terrific and lovely Crossing Muddy Waters acoustic record, this record feels a bit like spinning wheels. New JH initiates are better off picking up Bring the Family, Walk On, and CMW, John's best efforts. The return of Sonny Landreth, though, is a very welcome thing.

My First John Hiatt purchase...
While waiting on something new from Sonny Landreth and the Goners, I decided to purchase a John Hiatt cd. I chose this one and am not disappointed. Good lyrics, music and musicians.

I love the reflective lyrics of "my old friend" and the lyrics of "all the lilacs in ohio"

I will be purchasing more of Hiatts music. It's just the right combo of blues, folk, rock and roll that I love. Heck, the 70's were my favorite era of music.

"Farther Stars" is kinda a hippy-trippy song that reminded me of the Beatles. (I miss George Harrison.)
And I thought it was their way of paying tribute to one who has offered so much to the music world we know and love today, while not losing individuality.

Bluesy rock n' roll and groovy shuffles from John Hiatt
The Goners return to accompany John Hiatt on "The Tiki Bar Is Open", 13 years after they first appeared as Hiatt's backing band on the classic "Slow Turning".

"The Tiki Bar Is Open" is filled with excellent, bluesy rock music which swings and grooves on mid-tempo songs like "Hangin' Round Here", "Rock Of Your Love", "My Old Friend" and the title track, and which rocks and rolls with a vengeance on hard rock numbers like "Everybody Went Low" and "All The Lilacs In Ohio".

A lovely, melodious ballad, "Something Broken", also finds its way onto the album, as does a really great, re-recorded version of 1993's melancholy "I'll Never Get Over You" (which is on some European versions of the album "Perfectly Good Guitar").

Louisiana axe-man Sonny Landreth plays some sizzling slide guitar, and almost everything gels.
Not every tune is equally memorable, sure, but there is plenty of great stuff here, and no need to program anything out (except perhaps the slightly odd "Farther Stars", which sounds like George Harrison being experimental.)

One of Hiatt's better albums for sure...and some 3 3/4 stars.

Strange to say, might just be his best ...
We all know that "Bring the Family" was the one that staked John's claim to greatness. "Slow Turning" and "Stolen Moments" confirmed the fact that he'd matured into a true rock'n'roll leviathan, and "Walk On" was another very good one ... "Perfectly Good Guitar" and "Little Head" were largely [...], but we forgive him for that. And the less said about Little Village the better.

Then came "Crossing Muddy Waters", undeniably a return to form. This one, however, is probably one of the most irresistible rock recordings ever made by anyone.

Every song on this CD is a gold-plated classic. And any man who can write a song which (indirectly) owes something to Guillaume Apollinaire deserves to have a street in Paris name after him. The Rue de Jean Hiatt ... must go there when they do it for him. ... Read more

Amazon.com

Although he started his career as an award-winning banjo player, Tony Furtado has largely abandoned both that instrument and his bluegrass roots. Instead, he's focused on playing the guitar, composing, and singing, carving a distinctive niche of folk/blues originals and covers that resonate with agile picking and dusky vocals. His second live album is, as its title suggests, a solo affair that cherry-picks from his catalog and adds newly recorded, imaginatively rearranged covers of Tom Petty's "Running Down a Dream" and the Beatles' "I Will."

With a playing style that shows the influence of Ry Cooder, Leo Kottke, and Jorma Kaukonen, Furtado's nimble fingers show a jaw-dropping proficiency on his instrument. But even at his most flashy, he never lets his impressive technical prowess detract from the introspective, often poignant songs such as the heartbreaking instrumental "Can You Hear the Rain" and the traditional folk of "False Hearted Lover's Blues." Furtado kicks up his slide on a raging and passionate version of the old prison work song "Oh Berta, Berta" and a dizzying "Cypress Grove Blues." The exquisite recording quality of this live document brings clarity to every note as Furtado weaves his web of folk magic and mystery with chilling and hypnotic intensity. --Hal Horowitz ... Read more

Reviews (2)

Bare Bones
Tony out does himself on this one. Show casing his banjo, and slide guitar abilities, Tony's music is always Clean, Crisp and lots of fun!! Despite his level of expertise, Tony is one of the most down to earth artists of our day.

Roots of Rock
If you are one of the fortunate people who have seen Tony Futado play slide guitar and banjo, then this CD is a must have for you collection. If you have never heard Tony, this is a great place to start. It takes a lot of courage to walk on to a stage alone armed only with acoustic instuments, and I can think of no one who does it as well as Tony does here. The "Angry Monk", "St John's Fire" and "Berta" all crackle with energy. Tony's cover of "Runnin' Down the Dream" is inventive and inspiring. This CD is exactly what Tony's fans have been asking for. Roots music stripped down to its "Bare Bones." ... Read more