Reviews (15)

TIMELESS MASTERPIECE
This 1984 album was the last of Cohen's folk masterpieces (with a touch of country) and shines in its rich variety of styles, poignant lyrics and lovely melodies. His gift for sexual and political metaphor is evident in songs like Dance Me To The End Of Love and The Night Comes On, while his familiar spiritual themes are further explored on The Law, Hallelujah and If It Be Your Will. My favorite however, is the impassioned Heart With No Companion:

"And I sing this for the captain
Whose ship has not been built
For the mother in confusion
Her cradle still unfilled
For the heart with no companion
For the soul without a king,"
lyrics which are somehow echoed on Cohen's new album Ten New Songs, in the song Land Of Plenty: "For the Christ who has not risen/From the caverns of the heart/For what's left of our religion/I lift my voice and pray/May the lights in the land of plenty/Shine on the truth some day."

Unfortunately Cohen's own rather flat delivery on Hallelujah does not do the song justice, and is vastly overshadowed by John Cale's soaring version on the tribute album I'm Your Fan. The true classics here that have stood the test of time include Dance Me ..., Coming Back To You, The Night Comes On, the lovely, country-tinged The Captain (which reminds me of The Old Revolution on Songs From A Room), and of course Heart With No Companion. Well, five or six classic songs on one album would do any artist proud, and that's what we get from Cohen here. Various Positions remains one of his timeless masterpieces.

A masterpiece
This album wasn't released in the USA because of lack of interest in Cohen's work, but did very well in Europe. It's Cohen's most personal work about his longing for religious comfort and human warmth and reflects memories from his past. It took me a while to fully appreciate it because it can't be compared with his earlier stuff, but I do now agree with Cohen himself that this probably is one of his best albums. My favourite songs are "Night comes on" and "The law", but all the songs are good. "If it be you will" is an excellent prayer and to many people one of Cohen's most enchanting songs. Cohen did it again, a great album

Powerful music from a talented writer
Leonard Cohen's songs are awesome to listen to. His talents as a musician and writer are apparent in any of his songs. In my opinion, there isn't a bad one in the bunch. I'm no musical expert, but I don't think there could have been an improvement on any of his songs. His music is not without religious influence, but I'm hard-pressed to determine what kind of religious message he's trying to convey.

I first heard Leonard Cohen's music on "Pump up the volume", a movie starring Christian Slater about a high-school student running a pirate radio station. In a couple of the scenes of the movie, Slater's character plays some of Leonard Cohen's songs, including "If it be your will."

His songs have also been used in popular movies like Shrek, which features "Hallelujah," sang by someone else.

Wow! Lewis in pop-music!
Oh, my God, that's a great album! Here you will find essential Christianity presented popularly and in disguise of popular songs.
Can be compared with "John Weshley Harding" by Dylan and with books by Clyve Lewis.
It's a VERY good album.

Dance Me To The End Of Love
In this album Leonard Cohen displays the full range of his genius.

It begins with the richly melodic 'Dance Me To The End Of Love', with it's distinct Mediterranean/Israeli style, which remind me of hot romantic summer nights, by the sea.
It also includes such magnificent works as the passionate and intense love ballad, 'Coming Back To You' and the fascinating mix of romantic and satirical 'Night Comes On', the biting satire of 'The Captain' and 'Heart With No Companion' which embodies a heartfelt and deep explanation of the terrible experience of loneliness and isolation.
The greatest track on this album however, is the majestic and spiritual 'Hallelujah':

"They say there was a sacred chord
That David played and it pleased the Lord
But you don't really care for music, do you?
It went like this, the fourth, the fifth
The major and the minor lift
The baffled king composing Hallelujah"

I also love Jennifer Warnes' rich, melodic, sensual voice, which particularly adds beauty to 'Dance Me to The End of Love' and 'Hallelujah'. ... Read more

Amazon.com essential recording

History's ear hasn't been kind to Joan Baez: in retrospect, setagainst the traditional voices whose material she interpreted, her ownversions seem painfully pretty, her soprano icy and removed. But it'shard to gauge now the force of her first record, a folk-revivallandmark. Released in 1960 after a triumphant Newport Festivalappearance, the record had deep material and emotion that few of herurban folk contemporaries possessed. Her version of "John Riley" iscompelling, "East Virginia" glowing, and "Silver Dagger" concentrated,while "Preso Numero Nueve" showed her future political turn. (This 2001reissue offers two previously unreleased tracks plus an expandedversion of "John Riley.") --Roy Kasten ... Read more

Reviews (8)

Neither "too pretty" nor "icely remote" - a beautiful voice
Like another of your reviewers, A music fan, I too cannot accept Amazon's Roy Kasten's view on Joan Baez' voice. Any singer who could sing such songs as "Silver Dagger" or "Mary Hamilton" with the strength and emotion she then displayed could never properly be said to have a voice that was "too pretty" and more particularly, "icely remote."

True, her voice was then much purer and cleaner than most of her generation, which some would equate to being not as "authentic" as such entertainers as John Jacob Niles, the Seegars etc Query: Does an poor voice mean that a folk song is more authentic?

Also, many would object to her somewhat shallow politics (perhaps not as bad as Doonesbury implied with "Phonie Jonie"), but no one can take away the force of her early records, including the (rare) couple before she joined Vanguard in 1960. Her later pop years were a waste of talent in my view, despite some songs being pleasant.

I also agree with reviewer starmoth that Joan Baez remains the best ever recorded interpreter of the classic Child ballads in terms or sheer listenability.

Icy soprano? No!
Ray Kasten, for Amazon, describes the youthful Joan Baez's voice as "painfully pretty" -- a strange phrase, though I think I know what he is trying to say -- perhaps that folk songs should be more roughly presented? But how can he describe her "soprano [as] icy and removed"?-- it is the most moving, most heartrending voice voice in the history of folk singing, perhaps of all popular singing. An extraordinary voice, an extraordinary, talent, and and extraordinary recording.

Great ballads, beautifully sung
The original release date for this album (her second) was October, 1960, but no-one has since surpassed Joan Baez as a singer of Anglo-American ballads, most especially (in my opinion) those collected by Francis J. Child in his five volume work, "The English and Scottish Popular Ballads"(1882-1898). If you've never heard her sing, this album would be a good place to start. "Joan Baez Vol. 2" and "Joan Baez 5" also have some great ballads.

Joan Baez is a very admirable person. Her life and voice have been inseparable from the public events that have shaped the last four decades. However, I wish she could have sung more ballads and less soft pop (is that anything like soft porn?) and political ephemera. That's why I can't recommend any of her other, more recent albums (except "Noel"). She was gifted with a lyrical soprano that pierces like a flute and trembles like moonlit water. It is the perfect instrument to express the pathos and unrequited love of the minor keys. When she attempts a more robust C Major or G Major, she sounds jokey rather than robust--like someone in the manic phase of her bipolar disorder. I tend to disagree with the liner notes that suggest Joan has an effective snarl in her lower register in the song "Silver Dagger". She sings this Appalachian ballad in a way that will haunt you for decades, until you break down and purchase a CD remastering of the old vinyl recording that got loved to death. No snarl, though.

This CD contains two new songs that weren't on the original issue: "Girl of Constant Sorrow"; and "I know You Rider." You also get to hear Joan singing "John Riley" on two different tracks, the second time with an added verse. Note to Vanguard: that's a rather clunky way to fill an extra track.

My favorite song is from Child, "Vol. 6, Border Minstrelsy (Ballad #173)," more commonly known as "Mary Hamilton" or "The Four Marys." This ballad has almost the largest number of variants on record, an indication of its antiquity. Joan's arrangement is mercifully purged of most of the original Gaelic, and tells the story of Mary Hamilton, a lady-in-waiting at the Queen's court, who dies on the gallows because she killed her 'own wee babe' nine months after a tryst with the King.

Child relates the tune to the execution of Mary Hamilton in Russia on March 14, 1719. She was a maid of honor to Empress Catherine and was hung for the murder of her child. However, according to the "Viking Book of Folk Ballads," the song existed before the tragedy in Russia and therefore could not be related to it.

Another possibility for the scandal occurred in Mary Stewart's court in Scotland (which is the location mentioned in Joan's version of the song). A French maid had an affair with the Queen's apothecary and was hung for the murder of her child. There is speculation that the "apothecary" was actually Lord Darnley (the Queen's husband) in disguise. Legend has it that David Rizzio, the Queen's Chamberlain and close confidante found out about the affair and composed the tune and wrote the words. Lord Darnley's anger at Rizzio over the tune then contributed to his decision to murder Rizzio.

In Joan's rendition, the King attempts to rescue Mary Hamilton from the gallows, but she will have none of his belated sympathy. And so "Yestreen the queen had four Maries/, The night she'll hae but three/; There was Marie Seaton, and Marie Beaten/, And Marie Carmichael, and me." (the text from Scott's edition of 1833).

This is a great ballad, beautifully sung, and well worth the price of this CD even if it didn't also have "Silver Dagger," "East Virginia," "House of the Rising Sun (Joan recorded this lament before Bob Dylan)," and "All My Trials."

Long, Long Ago, Before the Beatles or even Bob Dylan...
Before the Great Folk Scare of the 1960s, there was traditional music, songs that have triumphantly withstood the test of time and interpretation by thousands of singers both famous and of the back-porch variety. Folks have been singing these songs since before "music" was synonymous with "entertainment; they've been sung by mothers lulling their babies to sleep, and around campfires and kitchen tables, and as men (and a few women too!) went off to battle and to sea; they've been used to spread the news of palace doings and pirates and adventurers, and to tell the stories of regular folks going about their daily business. That's where these songs, sung so beautifully and cleanly by Joan Baez on her first album, come from, and the fact that these songs are still being sung and loved and passed on to the next generation is due in large part to Joan and Judy and Pete and even old Bob Dylan himself. They knew a good song, one that rings true to both the ear and the heart, when they heard one, and I remain perennially thankful that they saved them for us and our children and our children's children in such beautiful recordings as this.

This album has been dubbed "essential" by the wise folks here at Amazon.com, and rightly so. It was first released way, way back in the very early '60s, before my generation of Baby Boomers had become world-weary and relentlessly politically correct. All of the songs on this album predate our 20th-century woes and wars, and most of them have their origins in "the old country", whether that be England or Africa or Spain or deepest Apalachia. But that doesn't mean that these are sweet, wimpy, wispy little ditties, and don't let the spine-tingling purity of Joan Baez's voice lull you into overlooking the power and substance of the material here!

In the songs that Joan gives us on this album, we have the stuff of life itself: loneliness ("10,000 Miles), love ("Wildwood Flower"), adultery, rape, and betrayal ("Mary Hamilton") and revenge ("Silver Dagger"), prostitution and gambling ("House of the Rising Sun"), and the deep suffering of slavery and oppression. Bastard babies, wronged women, pirates on the high sea, heedless rounders, murderous lovers, even baby Moses and the pharoahs - they're all here, and they've got a lot to say!

These songs were among the first I learned to play over 40 years ago on my old Montgomery Ward guitar with the hot pink "flower power" decals stuck all over it, and I'm still singing them today. My kids, now grown, know them from me & my friends singing them in the living room and the kitchen all of their lives, although I'd bet they've never heard this recording. In fact, I had forgotten about this album until I recently rediscovered it, and therein lies the incredible power of great "folk music": it is the song itself, more than any individual singer, that lives in the minds and voices throughout the years, decades, centuries. With this and the other earliest Joan Baez recordings, though, we have it all - enduring songs of the human condition and a singer whose simplicity and clarity of voice bring them to us in heartstoppingly beautiful form.

It would be easy enough, from our perspective of the wearying decades since the '60s, to lump Joan Baez in with our memories of love beads and protest marches and "girls' dorm music" and even our own foolish younger selves. After all, it was she who brought us the now-dreaded "Kumbayah" that we've all sung at countless campfire singalongs, and who perhaps gave voice to the earliest seeds of our "political correctness". Easy, perhaps, but a gross underestimation (or, as our current president has said "mis-underestimation" - but don't get me started!). The songs, the voice, the symbol of an era, and the woman who brought them to us are all right here in this first of her many albums. Buy it for the hauntingly beautiful traditional songs Joan brings us, or for the pure clear voice that will lift the hairs on the back of your neck, or for the incredibly and appropriate simple guitar accompaniment she gives us; buy it to expand your own and your kids' grounding in traditional folk music - heck, you can buy it for nostalgia and the sweet pangs over your innocent or misspent youth for all I care, but buy it. This is an album that should be in every American's collection, for once it is in your collection, the music will be in your ears and your heart your mind, where it belongs.

The story world of these songs comes alive . . .
. . . humming in your chest, and in your eyes . . .

I didn't become aware of Joan Baez until the spring of 1970, when I moved into a communal house where several of the women my age played Joan, Judy and Joni a lot. Initially, I didn't like her all that much . . . the albums they had were 'Farewell Angelina', and 'Any Day Now', which are both collections of Bob Dylan songs. At the time, I much preferred the way Bob sang his own songs. I mean, these Baez albums were great mood enhancers, a/k/a background music, but I never considered buying them for myself way back then.

This situation changed in the mid-90's when I bought and read the book 'Baby Let Me Follow You Down: the Illustrated Story of the Cambridge Folk Years'. The author, Eric von Schmidt, was one of the very folksingers whom he was writing about, and boy, did he ever do a job of transporting me back in time, as it were. I began hunting for some of the older material, from where the urban folk revival started. One of my first acquisitions was Joan's first album. I absolutely fell in love with it.

Sure, Ms. Baez took a lot of flak for being in the habit of singing old traditional songs rather than the new topical protest material; and she didn't even write any of her own stuff. Then again, the artistry she summons when just singing is far more astounding than what many of the singer-songwriters were able to tap into while writing their own new tunes.

Her voice is pure, and her dynamics (ability to go from soft to loud and back again) is unmatched in the pop world. And there is quite a large acreage of feeling that inheres in, adheres to, and rustles in the deep undergrowth of her softer passages, then dances in the powerful frescos of her soaring soprano.

It's such that you don't dare listen to this on headphones--the alterations in volume are too great. It needs a relatively large, airy room to allow the attitude and ambience to emerge, for the delicately powerful sounds to swirl, grow into the strong, knowing organisms they are, then later to die away somewhere around the cornices (and other places).

[Or at the edge of space where time begins to steal the music away . . . until the whispered beginnings of the next phrase, or the next song.]

The person who recorded and engineered this did great work, by the way, not succumbing to the urge to compress the dickens out of the sound of this beautiful, amazing voice.

Be sure to check out her first two live albums. When she has the audience sing along with her on "We Shall Overcome", tears well up in me every time I hear it. ... Read more

Amazon.com

There are few music fans who are not familiar with a Tom Paxton song--whether they know it or not. Paxton emerged from the folk movement of the 1960s and went on to pen a remarkable body of work that has been covered by literally hundreds of singers. Indeed, the songs on this collection, culled from the seven albums he cut from his start on through 1971, include what are now unarguably American standards in the rarefied tradition of Stephen Foster and Woody Guthrie. His lyrical charm and simplicity of melody informs children's songs ("Going to the Zoo," "Marvelous Toy") and hilarious social satires ("What Did You Learn in School Today," "Forest Lawn"). His most memorable songs, though, are the romantic ballads such as the title track, "Ramblin' Boy," and his signature apologia "The Last Thing on My Mind." This album is a perfect Paxton primer, the only quibble being over the songs left off. The breadth of Paxton's early work surely merits a double CD. --John Sutton-Smith ... Read more

Reviews (12)

Can't help but notice whence we came.
This treasure is one of three I have recently purchased. The other two being Tim Hardin, "Person to Person," and Taj Mahal's, "Natch'l Blues." For three entirely different reasons I have been powerfully reminded of the fertile ground out of which the most poignant and profound integrity of the sixties grew. I must confess that I bought this CD for the sake of "Talking Vietnam Potluck Blues," one of the most amusing and sardonic protest songs of the era, only to rediscover a wealth of vital contributions that Paxton has made to the world of music. The soulful and romantic refrains of "The last thing on my Mind" brings tears to my eyes everytime I hear it, in sharp contrast with the rally cry of "What did you learn in school today" this album explores the multi-faceted depths of Paxton's versatile and thought provoking poetry. And what a voice! Paxton is one of the most significant and enchanting mintrels of the 20th century. Hey, oldtimers, this CD will make you feel young again without making the 60's seem trite. It is nice to have such a dynamic and lasting reminder of the influences that made that era such a seminal part of who we are and whence we came. This CD is a very rich repository of human nature and a must for every seeker and collector.

Visiting an Old Friend
After not listening to Tom Paxton for awhile, I purchased this album and have enjoyed both the music and the memories I've been given the chance to examine once more. I live in Texas right now, but I grew up in California, with Tom Paxton and other 60's folk music. Paxton's music has held up wonderfully through the years, and I still think "Jimmy Newman" is one of the most heartbreaking anti-war songs I've ever heard. I cherish this CD and recommend it to everyone. It has given me back something I had lost.

Excellent sampler-but need more
This is a long overdue release and contains some of the best performances from Tom Paxton during his early, formative years on the Elektra label. As others have stated, there are omissions in this collection-thus begging the question-when will these be released on cd?
Tracks like "Morning Again", "Crazy John", "Saturday Night" are only available by hunting down the original vinyl.
At the very least, "Tom Paxton 6", his best record, deserves a cd release. The tracks on this anthology from this record sound wonderful on cd.
Also deserving a cd release is his Reprise label record "Peace Will Come"- an album right up there with "Tom Paxton 6".

This is the collection to get
This disc has all of the "hits," if one may use such a term with this sort of music, from Paxton's phenomenal first three accoustic albums. If this is what you're looking for - and it is certainly something worth looking for -- this disc is the disc to get, clearly preferable to the Vanguard best-of collection. (For most of Paxton's best material on Vanguard, just get the Newport Folk Festival albums, which have so very much to recommend them in addition to Paxton's presence.)

The surprise here was the lesser known and harder to fine material from 68-71. Although his voice sounds a bit strained or hoarse at few points, some of the songs are astonishingly beautiful. Really. I even generally enjoyed the plush arrangements, which typically detract from singer-songwriter types. Perhaps that's due to another surprise: some real heavy hitters play on these sessions, including David Grisman, Richard Davis (!), and Hubert Laws.

Twenty-six tracks make this an attractive value, too. A good compromise between LP era collections that omit too much good material and expensive box sets that are overkill for casual fans.

Silly enough.
Comedy ages, but as things change, the ability to laugh can only become more necessary. The ultimate laugh ought to be at the song "Forest Lawn," which is full of great ideas for a funeral that would never be forgotten, with the chorus, "I want to go simply when I go." There might be something funny about "Talking Vietnam Potluck Blues," but those who know shouldn't be telling anyone who doesn't. I like "Bottle of Wine" for being a hugging kind of song; I never heard a bottle of wine complain about being hugged. People can still get serious about some of the things in "What did you Learn in School Today?" but it isn't really cool to notice.

I know the song "Daily News" (full of right wing paranoia) was too true for it to be funny, but it still seems like a silly song to me now. As the fourth song, it follows some that must be a lot more famous, but daring to be this political called forth its own kind of greatness. If only people could realize what a complex web is always being spun around the simple stupidities so that only popular songs could challenge them in a way that people might feel, things might not be at a point where hardly anything matters as much as the wish that this stuff could have been more popular. I like this enough to own it, but I'm not laughing at it very much anymore.

Tom Paxton wrote some other songs that were great enough for me to wish that they were on this CD (they aren't), but there are a lot of songs. The one that I am most glad is on this CD is "Cindy's Cryin'". Nothing else has ever aroused my sympathy in quite that way, and I have read about a lot of addictions. ... Read more

Reviews (45)

Full Circle is complete
For long time Fogelberg fans, "Full Circle" will be very hard to review and not instinctively compare to previous releases.
For newer listeners, or even listeners who have never heard of Dans music at all, and want to hear about this CD...."Full Circle" doesn't belong to this new world of Pop.
Dan actually has a brilliant touch in everything he has done in his 30 plus years in the music business.
And to know that when Dan releases a project, he has put every ounce of knowledge and musical expression he could muster.
And just like a true artist, it will not be released to the public until himself as his own worst critic is satisfied.

"Full Circle" does not dissappoint.....It's like a gift to us long time Dan fans.
There are two songs not written by Dan here, them being, the title track "Full Circle" and "Earth Anthem"....both songs written over thirty years ago by two of Dans musical heros.
To respect Dans decisions when he puts a song or two in his projects that he has not written is to give and take.
But "Full Circle and Earth Anthem" are two very well sung and played songs and adds perfectly to this CD.

I didn't take to this cd immediatly on first hearing, and I suspect you may not either.....But I now love it.
I wished it were longer, I wish there were more songs,
but thats true of every good cd.
My favorite songs are "Icarus Ascending" a song similar in messege to "Don't Lose Heart" from Dans "Portrait Box set"
"Drawing Pictures" a song Dan wrote directly after releasing "The Innocent Age" over 20 years ago....if you have The Innocent Age ...you will recongnise Dans musical vision in this song from way back then.....one that reminds me of "Mountains to the Sea" from "Portraits"

I really like every song here...it took a few listens to appreciate it.
And look foward to another Cd from Dan I hope in the next few years.

A return to form
I really like this disc. I've been a Fogelberg fan from the very beginning and treasure his first half-dozen albums. He lost me for the most part in the late 1980's and 1990's, but "Full Circle" is his strongest studio LP in two decades and not far behind signature work like the "Souvenirs" and "The Innocent Age" albums.

"Half Moon Bay" is a lovely, lushly-arranaged instrumental. It's brief (a minute and a half) and serves as in introduction to "When You're Not Near Me," which is a jangly, somewhat country-influenced tune. "Full Circle," written by Gene Clark a generation ago, gets the same treatment, and it's an excellent choice for Fogelberg--he's been at the top, and he's taken his lumps.

There are some lovely acoustic ballads on this disc. "Whispers In The Wind" is the best track, a haunting song that begs for repeated listening and holds up well in comparison to his very best work. "Drawing Pictures," written circa 1981, is equally strong. "This Heart" is another mid-tempoed, somewhat countryish number, although more lyrically upbeat than some of his more somber songs, and that's a nice change. "Icarus Ascending" is an interesting song, and Bill Martin's "Earth Anthem" is stately and a fine closer. The songs seems to fade out early, but that's a minor complaint.

Only ten full-length songs (not counting "Half Moon Bay"), and a total running time of about 42 minutes. But there's not an ounce of fat on this disc--not one mediocre tune. If you'd given up on Fogelberg 15-20 years ago, give "Full Circle" a chance. Lifelong devotees will be thrilled, as I was. Strongly recommended.

Let's Just Hope He Doesn't Stop Here ...
The voice has changed, aged, mellowed since I put stylus to LP and listened to the inimitable "To The Morning" over thirty years ago. So has the music. Both are better than ever.

Dan Fogelberg is music's master lyricist and tunesmith. Nobody comes close to matching his genius. I've seen the steady decline of music over the years as evidenced by the insensitivity of metal and grunge to the ugliness of rap and hip-hop to the silliness and shallowness of image-grabbing celebrity hounds like Madonna and Britney and Jennifer Lopez, et al.

Fortunately, Dan has remained true to his craft and has elevated it above the fray and idiocy of the MTV and VH1 crowd. This latest, and perhaps last, effort of his is an exclamation point from Fogelberg to his critics who have accused him of not being commercial enough. Each of the tunes on "Full Moon", save the two he did not pen, has mass appeal, but I like to pretend each was written especially for my listening pleasure and for no one else.

"Half Moon Bay" takes me back to the days of "Aspen" (Captured Angel) and underscores his limitless musical talents; "Reason To Run" and "Once In Love" would be a great country hits; "This Heart" beckons back to the days of Roy Orbison, and the song drives memorably hard, with a great melody and lyrics, without piercing the ears; "Whispers In The Wind" is poetry set to beautiful music - this is how a love song should be written; "Reach Haven Postcard" - classic Fogelberg - is another superb tune, the irony of which Fogelberg, with all his many gifts of expression, finds himself at a near loss for words describing his intense desire to be with his lover while he watches as the "stars lay like diamonds on the breast of the sea." All he can say, after it all boils away, is "But the only thing I wrote was 'I wish you were here.'" Those five simple words say it all.

"Icarus Ascending" is the most optimistic and encouraging song from Fogelberg I can recall. It drips with metaphors for staying the course, even if the sun is melting your wings, much in the vain of "Don't Lose Heart", and it would have been the perfect conclusion to the album.

While I am no fan of the song, "Earth Anthem", it is acceptable filler on an otherwise brilliant collection of songs.

Extraordinarily well-done effort, Dan, even by your lofty standards, and we hope there will be more to come from you!

He's Back
Thanks Dan for stopping smoking whatever and letting your spirit write. This is the best in a while from the greatest natural soul for music that has been around for awhile. The earth needs someone to speak for her and he does a pretty damn good job.
nuff said.
g

A Classic
I bought this album eight months ago and have listened to it over and over. I never get tired of hearing it like I have with most albums I buy. I am a professional musician and music teacher, not that it matters, but I am a very critical listener. I know that 20 years from now, I will still be listening to this album. There are very few artists I feel that way about and even fewer albums. If this has to be Fogelberg's last album, I would say he went out at the top of his game. Don't miss out on this classic work. And Dan, if you by chance read this review, thank you for bringing real artistry to radio. You are greatly missed. ... Read more

Reviews (23)

All of Harry's best songs in one place...with some filler
I grew up listening to Harry Chapin, and many of his songs rank among my favorites. "Taxi", and "Cats in the Cradle" especially are emotionally moving and are almost tearjerkers, while "Sniper" is a masterpiece, "Sequel" is a part 2 to "Taxi", and the list of great songs goes on. "I Wanna Learn a Love Song", "WOLD", etc. They are all here in one place (well, "30,000 Pounds of Bananas" is conspicuously missing). I docked this one a star however because of the filler. I guess some people might find all the spoken word sound clips scattered throughout this anthology a nice touch, but whether you find them a nice touch or filler depends on your taste. That's my only complaint about this collection. Otherwise, prepare to OD on Harry when you listen to this!

Chapin collectors please note:
You know, I think this collection has some rarities on it, and I didn't know Harry had any. I have a complete collection of his Elektra albums, plus the unfinished "Last Of the Protest Singers" which his estate released on K-Tel, but "Thanksgiving Hunger Drives", "Commitment and Pete Seeger", "Performing", "Calluses" & "My Grandfather" don't ring a bell. Plus, I think both these discs max out at the 75-minute CD limit ("Sniper" and "There Only Was One Choice" are both quite long"), so you get a lot of music for your 22 bucks. Plus you get Harry, a paradox for such a seemingly-simple artist. He was a sentimentalist; there are songs I can't sing myself at parties because they bring tears--don't ask me to name them all. He was a humorist; "30,000 Pounds Of Bananas" about the tragic crash of a fruit truck is a hilarious parody of the truckdriver songs of '60s Country. He could be as noir as some Springsteen stuff; in "Sniper", he crawls inside the mind of Texas University Tower gunman Charles Whitman. Plus, we get both halves of the "Taxi" saga here in the same collection. Maybe my Chapin collection isn't all that complete after all.

miss ya harry
I absolutely love singer/songwriters from the 70s,and Harry was one of the best and most prolific.He was also hard-working,doing over a 100 shows a year and giving most of the proceeds to charity.His untimely death from a car accident in 1981 was a great loss.

the best collection for the $$
I had a birthday option once-cash, or CDs. I only really knew "Taxi" and "Cat's in the Cradle" from some records, but I wanted them on CD. I wasn't sure I wanted to spend the money on a 2 disc set just for 2 songs. I sort of knew some of the others like "WOLD" and "A Better Place To Be" (a fantastic song, despite that one review), but not that much. So I opted to pass on the cash and got some CDs and made sure that this was the first one I grabbed. I loved almost everything on it right away. I was sad not to see "30,000 lbs of Bananas", but other than that there were no disappointments. The spoken tracks with exerpts from speeches and interviews are amazing. "My Grandfather" is probably my favorite. "Sniper" seriously distrubed me for a while until I realized what a brilliant composition it is. Even "There Only Was One Choice" is on here which is a pretty incredible song but so long that you'd think it'd be left off.

For me though, "Circle" is tough to listen to. It is one of the live tracks on the collection and in the middle he talks of his causes and how he'll be in the lobby to meet everyone and "kiss all the pretty ladies" then adds "sorry guys, maybe next year". You see, he died shortly after that performance so there was no "next year". The whole speech is incredibly passionate about his causes and all of the things that he was working for so to think that we lost him shortly after reminds us of what a sudden and tragic loss this was.

Brilliant stuff, with some fluff throw in...
I love Harry. I have since I first heard "Taxi" back around 1972. I have owned or heard just about everything he left us. This is a good overview of his work, with most of his best songs. Some chatter included does not hold up on repeated listenings and could have been dispensed with. This is the only Chapin I have on CD, but I have kept my vinyls and cassettes. All fans of Harry have a different original album favorite, it seems, and all of Harry's albums have a couple of soul-searing classics and at least two or three numbers that don't impress at all. One of my favorite Chapin releases has not made it to CD yet. "Sequel" came out on the Boardwalk label and not only includes that wonderful follow-up to "Taxi", but also has "Remember When the Music." It deserves a CD release. Is anyone listening who can make that happen? Harry, we know you were not perfect, and neither was any single record you put out...but you were a damn good man and artist, and we have missed you terribly. No one has emerged to fill your spot in our culture, and we suffer for it. Jackson Browne has tried, and come close...but no one has produced another "Taxi" or "Cat's in the Cradle" yet. This two-disc set is worth owning if you don't already have these songs in playable condition. Harry Chapin often erred musically on the side of excess, but when he nailed it, he nailed it good. In addition to the songs I've already named, listen to "Old College Avenue"; "I Wanna Learn a Love Song"; "Flowers Are Red"; "She Sings Songs Without "Words"; "Story of a Life"; "W*O*L*D*"; "Mr. Tanner"; "Corey's Coming"; and "Circle". This man put his soul into his lyrics and performances, and exposed it to all who would listen. I thank God I have had his songs in my life. ... Read more

Album Description

3 CD retrospective of Kristy's work between 1979 and 2000. Contains all her singles & unreleased tracks including demos from the family archive. EMI. 2005. ... Read more

Reviews (1)

A BOX SET FOR KIRSTY...FINALLY!
It sure took long enough for it to happen, but it was worth the wait! "From Croydon to Cuba" is a excellent collection, it features all her singles, a few b-sides, her best album tracks, and a lot of previously unreleased material. Now it would be very easy to complain about whats not on here, but that's just nitpicking, besides it would be nearly impossible to put every great song she ever wrote and/or recorded into one concise package! Thankfully Kirsty and her music is finally getting the respect it deserves, with re-issues of "Kite", "Electric Landlady", and "Titanic Days"(my personel favorite), these also feature the B-sides from each era, remixes, and more unreleased material (now if they would just release "Desperate Character" and her unreleased second album "Real" in it's entirety). This anthology eclipses the others("Galore", "The One and Only") and is a must for not only Kirsty fans, but anyone who likes eclectic artists and music. ... Read more

Amazon.com

Under Cold Blue Stars, the third album from native Nebraskan Josh Rouse, is full of elegant, melodic pop songs that are deftly understated but carry hooks as catchy as Coldplay's (whose music the opening song, "Twilight," uncannily evokes). This is music for folk in love with Americana and timeless pop; it's a gentle hinterland of melancholy and hope. The loose concept behind Under Cold Blue Stars is that of a fractious couple in the late 1950s, trying to come to terms with their lives and relationship. "Christmas with Jesus" is an unashamedly beautiful realization of their struggles, as is the upbeat title track, which touches on sources as diverse as Nils Lofgren, the Cure, and even Bruce Springsteen (albeit, a Springsteen shorn of all pride and aggrandizement). All this adds up to make Under Cold Blue Stars rather special. --Everett True ... Read more

Reviews (27)

Sublime
Since his excellent debut "Dressed Up Like Nebraska", Josh Rouse has never disappointed. He knows how to make a song work. With this third album, the synthesizer is present over the first half of the album and though I'm not big on this sound, the quality of the music still wins. Josh has always been influenced by some new wave music, and that's what takes him a bit apart of the alt.country scene. In "Under Cold Blue Stars" you can have U2 in mind on some tracks, as well as Radiohead or R.E.M, bands I personally don't use to like so much, but with Josh Rouse it's different, probably because he's a solo artist with a more intimate approach. The second half of the disc is by far my favorite: from "Ugly Stories" to "The Whole Night Through", it's simply sublime. "Feeling No Pain" is a terrific single that recalls The Jesus & Mary Chain (remember the glorious "April Skies"?). The wonderful "Ears To The Ground" was not written by Josh, but Jason Phelan (from a band called The What Four). "Summer Kitchen Ballad" could make you weep by surprise. "Women & Men" must be one of the highlights of Josh shows. "The Whole Night Through" ends as a beautiful twilight.

All over, a space and solemn emotion in the music, that makes of "Under Cold Blue Stars" one of the records of the year.

The Music of the 'Stars'
As a pop album with a soul, Josh Rouse's Under Cold Blue Stars confronts the beaten boundaries of pop music while comfortably remaining within their confines. Just as his sound is about to dissolve into predictability, Rouse delves confidently into unexplored musical terrain, delivering a collection of 11 songs that embrace a spectrum of musical moods. From the hauntingly spare "Summer Kitchen Ballad" to the jangling "Nothing Gives Me Pleasure" to the frenetic "Feeling No Pain," Rouse's sound is as challenging as it is charming.

Rouse does not necessarily accomplish anything really new here. Rather, he reconfigures standard pop devices, stripping the genre of its fluff and cutting to its bare bones. Thus, while Under Cold Blue Stars is not the work of an innovator, his attempt at acquainting pop music with honesty and substance is, for the most part, an encouraging success.

In a recent NPR [National Public Radio] interview, Rouse recalled the FM radio of his Nebraska childhood, saturated with Neil Young and Fleetwood Mac. Rouse knows his influences rather well, it seems, as Under Cold Blue Stars plays like a reconciliation between the dreamy levity of Fleetwood Mac's "Gypsy" with the dour minimalism of Neil Young's "Albuquerque." However, while Young, Fleetwood Mac and comparable contemporaries such as Radiohead nail themselves to a definitive sound -- Radiohead's unremitting gloom, for example -- Rouse frolics somewhat drastically from one temperament to the next, defying category at every turn.

Interestingly, this schizophrenic approach renders his triumphs just as visible as his failures, yielding a rather didactic statement on the dos and don'ts of pop songwriting. For a younger artist, Rouse often exhibits a notable restraint of his powers, while occasionally letting his abundant energy obfuscate his capacity for melody and pathos. A healthy dose of bleakly spare tracks instills the album with a memorable immediacy and poise, whereas other tracks, such as "Women and Men," embark towards the same kind of promise only to descend into the distasteful pop arrangements that Rouse spends much of his time eluding. Fortunately, such descents occur rarely on Under Cold Blue Stars and the power of other, simpler songs keeps the album confidently afloat.

Similarly, Rouse's lyrics are as manic-depressive as his music is restless. At once innocent and bitter, Rouse's narrative of love and loss leaves nothing unsaid, documenting the spectrum of the heart from glory to grief and back again. "Nothing gives me pleasure like you do, I've always been the one to follow you" he croons on his way to requited love, only to confess his broken heart just a few songs later, in the vulnerably tender "Ugly Stories:" "Farewell, bye bye, sad look in your eye doesn't mean a thing." Despite his subject, Rouse's language consistently avoids mawkishness and doggerel, articulating desire in words as blunt and raw as Bob Dylan's on his equally forlorn Time Out of Mind.

Rouse's best songs do not reveal themselves entirely in the first listen, settling into the consciousness like silt at the floor of still waters. "Christmas With Jesus," the album's best song, slowly peels and pierces the heart, while raw, folkish ballads such as "The Whole Night Through" or "Summer Kitchen Ballad" awaken the mind like sudden rushes of nostalgia. Undoubtedly, Under Cold Blue Stars is the work of an emerging artist, and if Rouse slips into an occasional burst of production overkill, it only serves as a more vivid illustration that a good song invites the listener to participate in its experience, rather than doing all the work itself.

Triumphs such as "Christmas With Jesus" and "Summer Kitchen Ballad" demonstrate a kind of courage and honesty that surface only on those rare achievements such as The Bends or Blood on the Tracks. Those masterpieces execute their power more consistently and stylishly than Rouse, but, in the end, the comparisons are not as lofty as they may seem.

Excellent Album by an amazing performer...
This is one of the most hypnotic alternative albums of the decade! I love this cd. There really are no words to describe how great the music is. The songs are all beautifully performed and the melodies are all intoxicating and catchy. I'm not usually a fan of male vocals but I love this album. Definetly one of the best cds I have ever owned.

No question, one of the best
If you like heartfelt acoustic rock, this is the album for you. Josh's laid back, matter of fact voice blends perfectly with the funk rhythm on Under the Cold Blue Stars (think almost Remy Shand) and the moving Nothing Gives Me Pleasure. I can shut my eyes and imagine myself walking through Manhattan late in a January evening with the wind nipping at my face. Despite that, no matter what my mood is, there is something on this album that speaks to me each time I play it and the complex layers always keep me coming back to this album, time and again. You won't go wrong with this album, there's not a weak song on it.

Not what I expected
I first heard Josh Rousse on a Various Artists album, and this was the first Josh Rousse album I've purchased. I was dissipointed to find out that it wasn't much like the song of his that I heard (Laughter). The album itself is not bad, it has a easy-going, laid back feel, similar artists would be Jack Johnson and Duncan Sheik. The tracks mold together, giving it a somwhat bland feel to it, but overall worth the money. ... Read more

Reviews (3)

Great album!
This is my only album of the Nitty Gritty Dirt Band and it is great. I hadn't even heard of them until the 4th of July last year when they came to my town. I didn't get to see them play but I heard they were great so I bought one of their cd's and loved it. One song I wish was on here though is "Fishin' in the Dark." That is a great song. Great cd and worth the buy.

The Dirt Band's Greatest Album
This is the greatest collection of the Nitty Gritty Dirt Band's late 70's and early 80's songs that I have seen. I orginally had the cassette version, and I just had to find this exact album on CD. This album WILL take you back to a time 20 years ago and let you feel like you did back then. The melodies capture a great era of music that we will never see again. I have frequently heard An American Dream on pop music stations. I even heard Make a Little Magic in a department store last week. This is just a can't live without for any Dirt Band fan. I can only wish that this particular album was more available on CD!

Real Country
It is hard to find good country music with all the new stuff comming out. But when I listen to the CD it brings back thoughts of being back on my farm with my family. I remember where I come from but more importantly makes me appreciate how things are now. It has a good feeling about the whole CD I really love it. Listening to the CD makes me feel like I am back in the glorious states once again. ... Read more

Amazon.com essential recording

Bob Dylan's remarkable first album after his debilitating 1966 motorcycle accident isn't as urgent as the ambitious folk and rock songs he wrote earlier in the decade. Even considering the rocking "All Along the Watchtower" (covered famously by Jimi Hendrix), the album's overall feeling is soft and laid-back, all gently strummed guitars, perfectly timed harmonicas, and some of Dylan's best pure singing to date. The 1968 release sounds as if the songwriter and his three sidemen set up a few tape recorders in a bedroom and began playing as soon as they woke up in the morning. They open with the title track (a folk fable), move into the piano-driven "Dear Landlord," and close with the sweet love song "I'll Be Your Baby Tonight." --Steve Knopper ... Read more

Reviews (21)

Yipes! Did the Engineers Phone This One In?
Whoof! I have to agree with the other reviewers on this one. The sound "upgrade", if it can be called that, is a major disappointment. In the first week of the new Dylan remasters' release, I went out and bought four of my favorite albums for replacement, including this one, "John Wesley Harding". Compared to the others, the sound on this one is really poor. I get practically nothing from my surround sound speakers; it's almost monaural. Instruments rise up in the mix and then drop down again, with no consistency, from song to song and even within songs. Bob's harmonica, which is on many, many of the songs is way up in the mix, sounding piercing and shrill (and I don't mean his playing). Was there a problem with the original master? There just does not seem to be the clarity and fullness of sound on this remaster as there is on the others I've listened to, particularly "Bringing It All Back Home" and "Blood on the Tracks". I understand that, in order to make the release deadline for these Dylan remasters, Sony hired a variety of producers and engineers, assigning them in teams to different albums. I believe that that has led to some inconsistencies in the remixing, but what went wrong on "John Wesley Harding"? Folks, save your money if you haven't bought this one. Maybe Sony will note these responses and "re-upgrade" this album.

Pretty good Dylan - not his peak.
This was a retreat for Dylan. After his accident, he no longer was breaking barriers and this was a retrenchment away from rock and roll and back into a simpler sound. It's quality music, but not Dylan at his peak and most adventurous.

cloud 9
When I put it on it is like I am on cloud 9. The sound on the Guitar and harmonica is his best yet. The best song is All Along The Watchtower. It shows what great talent Dylan has.

Not What It Could Have Been
this album could have really been one of dylan's very best, but there's a three song stretch that keeps it from being in that class.
on this album dylan has a smokey sound to the songs that match his voice perfectly, for the most part.

"john wesley harding" is a song about a billy the kid type character named john wesly harding, and it is executed perfectly (5/5).
"as i went out one morning" is my second favorite song on the album. it's a song about a woman, the speaker, and tom paine. there's an unspoken mystical sense to the relation between the three, and the song is, of course, amazing (5/5).
"i dreamed i saw st. augustine" is slower song, and the lyrics are top notch along with the music (5/5).
"all along the watchtower" is possibly the greatest song ever recorded by anyone, and dylan's version is much better than hendrixe's (5/5).
"the ballad of frankie lee and judas priest" is a one of the most interesting story songs dylan has ever made (5/5).
"drifter escape" is a fast paces short song that's over before you know it, but the sound is grand-- as is the story (5/5).
"dear landlord" begins the dreaded three song stretch. it's an alright song, but it's boring compared to the majority of the album (3.75/5).
"i am the lonesome hobo" is an improvement over "dear landlor," but it's still too aimless compared to the majority of JOHN WESLEY HARDING (4.25/5).
"i pity the poor immigrant" is another good song that just isn't as good as the majority of this album. it's major flaw is that it drags on too long. if dylan took out a stanza, the song would be much better (4.25/5).
"the wicked messenger" picks things up again. brilliant lyrics, brilliant instruments, brilliant vocals (5/5).
"down along the cove" is a fun love song. it's no "all along the watchtower," but dylan got exactly what he was going for (5/5).
"i'll be your baby tonight" closes the album perfectly. it could be the sequal to "down along the cove." sex for everyone, or at least bob dylan (5/5).

if it weren't for the lackluster three song stretch, this album would be right up there with dylan's best albums.
this is still a must have album.

i'm not commenting on this particular sound recording but the album itself.

Sounds fine to me
Maybe I've got a tin ear. Or maybe I've got low end equipment. Or maybe I just don't know my posterior from a hole in the ground. But this new remaster sounds fine to me.

I had no idea there were so many people who were unhappy with the sound, but after reading all the negative reviews I thought, maybe I wasn't paying attention. So I listened to both the CD layer and the SACD layer. Loud.

It sounds great! The bass is rich and fat, the harmonica crisp and brilliant. I've been listening to this album for 37 years; to be fair, this recording has some odd characteristics to the sound (particularly the drums). This new remaster certainly doesn't sound worse than the vinyl, and while it may not provide the blow-your-socks off sonic experience of the Highway 61 remaster, I can't detect any problems. Both layers are an improvement over the original CD release.

If you're a true audiophile, maybe it would be a good idea to find a store where you can listen to the disc before buying it. If you own the original CD, there's no urgent need to rush out and buy the hybrid. But if for some reason you find yourself without a copy of one of the great masterpieces of popular music, this edition should do nicely. ... Read more

Amazon.com's Best of 2001

When we last left the ever-confounding saga that is Bob Dylan's now-superhuman recording career, he'd reunited with producer Daniel Lanois, with whom he cut 1997's Time Out of Mind, his most coherent and appealing collection in nearly a decade. Now the still-reigning prince of musical contrariety and potent wordplay is back with his most focused, well-played collection since 1989's Oh Mercy, another Lanois production. One listen to the fade-in of the opener "Tweedle Dee & Tweedle Dum" and it's clear that all Dylan's roadwork has shaped him and his band (including guitarist Charlie Sexton) into a mighty musical weapon. And while his craggy howl continues to resonate, it's the songs here that astonish. A sturdy midtempo melody makes "Mississippi" the equal of the best numbers on Time, which it was actually written for. He convincingly puts over the R&B swing (yes, swing) number "Summer Days." "Honest with Me" ("I'm not sorry for nuthin' I've done / I'm glad I fight, I only wished we'd won") is a driving rocker that packs a genuine punch. And the light, lounge-like "Bye and Bye" and the southland ramble "Floater (Too Much to Ask)" show extraordinary confidence. He's labeled these songs "blues-based," but in typical Dylan fashion what would promise to be the most overtly blues number here--"High Water (for Charlie Patton)"--sounds like a banjo-based gunfighter ballad. But then that's this artist's gift: confounding expectations. --Robert Baird ... Read more

Reviews (289)

In a word: incredible
Unbelievably, nearly 40 years into his career, with 42 albums already to his credit, and at 60 years of age, Bob Dylan has given us yet another masterpiece. This is a total left turn from his last album, the deeply personal, grieving Time Out of Mind, with its burlesque nature and playful lyrics; much the way as Bob delivered the all-over-the-map Desire after the release of the personal, moving Blood On The Tracks. But Love and Theft is an entirely different animal. The music is indeed an expansion on the standard 12-bar blues theme, but a good portion of it sounds different, almost like early-century lounge music. Songs such as Summer Days and Bye and Bye prove that Dylan's recent cover of Dean Martin's Return To Me was no fluke. He evokes the mood and spirit of this type of music surprisingly well. Few would've thought him capable of it. But we should've learned by now not to underestimate Bob Dylan. Whereas Time Out of Mind was very bleak and world-weary-focusing mostly on mortality and broken love affairs-Love and Theft is more playfully witty, the lyrics evoking a sense of the sly and the sardonic, in a way that has not happened as magically on a Bob Dylan album, since, I dare say, Blonde On Blonde. You can tell that Dylan had fun making this album. And it is as fun to listen to. Tracks such as Tweedle Dee and Tweedle Dum, Lonesome Day Blues, and Floater (Too Much To Ask) showcase this playful side of Dylan. The aforementioned Summer Days and Bye and Bye, as well as Po' Boy showcase the easy-going, pseudo-lounge act side of Dylan. And then there are songs, such as Mississippi (in fact, an outtake from Time Out of Mind; which only shows how great that album was), and the biting closer Sugar Baby showcase the darker, mortality-obsessed side of Dylan that he wore so openly on his sleeve on his last album. This is another album that's destined to be a classic. One of the best albums of the year. A must-own.

Fun - Bob Dylan Style
I took time out last night to listen to some of my favorite Bob Dylan albums, and the conclusion I came to last night was that Dylan is one of rock's great vocalists. He doesn't have a beautiful voice nor the range of other singers, but he's quite adept at phrasing a lyric. More than anything--the touring band, the musical arrangements, the bouncy lyrics--Dylan's newest effort, "Love and Theft," is a showcase for Dylan's voice.

"Mississippi," an exiled track from "Time Out of Mind," becomes a world-weary testament when sang by Dylan. Sheryl Crow cut a version of "Mississippi" in "The Globe Sessions," but it came off as a rushed, amiable rocker rather than the wise, soulful song that it is. Even in the pop arrangements for "Moonlight" and "Bye and Bye," Dylan's voice is a marvel of innuendo and desire. Perhaps the best song in the album is the closer, "Sugar Baby." When Dylan sings, "You went years without me/ You might as well keep going on," it resonates with heartbreak and resignation.

Dylan, now in his sixties, may have realized that he is no longer the agile man who could growl "How does it feel?" and intimidate the bejeezus out of you. He is now a man, late in life, who can moan and grumble about life and all its hardships yet still sound grateful. In many ways, Dylan was so much older then, and he's younger than that now.

Is "Love and Theft" one of Dylan's best albums? I'm not quite sure. I place it above "Time Out of Mind" but it doesn't match "Blood on the Tracks." In any case, I think it's Dylan's most delightful album. Dylan and fun, who would have thunk it?

pure genioos
"Love & Theft" on da other hand be pure genioos... in my poofer onion... he plays wif his touring band, and mang that album is all da better for it, Bob sounds like he be having fun again for da first time in fooken years, all da songs flow but dey all sound individual as well joo kwon what I mean? There be some Jazzy snogs, some rocky songs, some folky songs, vvvvvvvvvvvvvvvvvvvvvvvvvvs album imho. Yer. Out of da two I'd get dis one fer sure mang... hell I'd get a lot of other Dylan albums before I got Time Out Of Mind... yer.

It doesn't get any better.
Had to write this after reading the negative reviews. This is a beautiful album, one of Dylan's best--as is Time Out of Mind. The critics are sometimes wrong--but not these two times. Mississippi and Po' Boy are my favorites on the former; Not Dark Yet, Standin' in the Doorway, and Tryin' to Get to Heaven on the latter. Listened to Time out of Mind the whole time I was writing my first book--helped get me through. There is no one better in popular music, and never has been.

Wow
I can't believe Dylan topped Time Out of Mind. Never before has a 60-year old made such groovy stuff. If it had been released in 1967 instead of 'John Wesley Harding' Dylan would probably have been elected president whether he wanted to be or not. It definitely ranks alongside those albums. And it's funny.
If you can't tap your foot to 'Lonesome Day Blues' you're crazy. If only everyone could still make records sounding like this. This is rock and roll...in the 21st century!! Buy it and enjoy. ... Read more

Reviews (2)

Another good one
I like everything that Ian Tyson does. I've never heard anything that I don't like from him. His great voice prevails through this as in all the others. I like all of his styles from the Cowboy & Western to the folk. He is an incredible musician with an incredible voice and I think it's good that lately he's experimenting with other styles rather than sticking to the expected. His voice and his arrangements are great no matter what he does, and this is another GREAT one.

Great to see again
This was Ian Tyson's first solo album, in '73-- and it's
a testament to his talent that to me it sounds as fresh today as ever.It's a bit more country than the cowboy/western focus of his later stuff, and maybe not quite as psychologically complex as some of the recent stuff on, say, 18 INCHES OF RAIN or LOST HERD, but great.And as always, that voice! Some great songs too like "If She Just Helps Me," "She's My Greatest Blessing," fun 'road' song "Great Canadian Tour" & classic "Spanish Johnny." Tyson rules :)! ... 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

Amazon.com

When John Prine wrote and recorded the likes of "Hello in There," "Angel from Montgomery," and "Souvenirs" in the early '70s, he came across like a Social Security recipient in a young man's body. As he revisits those tunes and more favorites from his salad days, the wisdom Prine possessed as a twentysomething troubadour seems all the more remarkable. The raison d'être for Souvenirs may be rather prosaic. Prine rerecorded 15 early classics so that he could own master recordings of a bunch of songs from his first three albums, as well as a few stragglers from the late '70s and early '80s. But the flatteringly spare arrangements and Prine's wizened delivery only add weight to these heavy-hearted folk tunes. "It took me years to get those souvenirs / And I don't know how they slipped away from me," Prine sings on the title track, a remnant from 1972's Diamonds in the Rough. Well, John, they didn't slip away at all; they're still shining like gems under a layer of dust. --Steven Stolder ... Read more

Reviews (17)

Celebrating the career of one of America's best songwriters
John Prine has deeply moved anyone who has taken time to listen to his songs. Over the past thirty years he has written some of the most beautiful songs and gained virtually no recognition, although his songs have been covered by classic singers such as John Denver and Bonnie Raitt to modern pioneers like Natalie Merchant and Dave Mathews. His songs are simple in style and the lyrics are poetic and contemporary, often laced with a mixture of humor, irony, and utter heartbreak.

With this new collection, Prine has revisited his favorite songs. Not his greatest hits, but HIS personal favorites from his song catalog. As he describes in the brief liner notes, these songs have been his friends and companions for as long as he has performed them. This is perfectly portrayed in his singing voice. He sounds as though he has been singing them every night for thirty years (which he practically has). But these new recordings do not reflect a washed-up songwriter--the emotional value of the songs has only increased through the years and there is no hint of "boredom" or "repetition" in his voice. The sincerity and emotion are more prominent than ever.

The perfect companion album to any Prine fan. Any music fan will appreciate the quality of these recordings, regardless of his or her personal musical tastes.

Deja-nirs
John Prine's newest disc is a collection of re-recordings of songs he has previously recorded/released over the last 30 years. His songs songs have worn well travelled paths in my musical landscape, the lyrics automatically spill forward as a song plays, comfortable and familiar. That familiarity can be a mixed blessing in this case. The new recordings are very similarly arranged compared to the originals, but not exactly so, throwing off my car karaoke timing,just enough; familiar but different. That's a nerdy fan's problem. Mr. Prine has assembled a wonderfully recorded batch of wonderful songs. His voice now has a more fragile and fleeting quality, almost like he's singing about feelings he remembers having, rather than narrating as present emotion. "Angel from Montgomery" and "Blue Umbrella" are great cuts that push this feeling home, not as raw as the originals, but with a melancholy that conveys the original feeling. "Fish and Whistle" is more relaxed sounding than the original; "Souvenirs" is less bitter. It's great fun to compare these versions to the originals sonically and emotionally. Deep down, Mr. Prine's voice sneeks in more retrospective acceptance or contentment on these versions. I feel like he is singing from some place that does have a happy (or graceful)ending, that's the greatest feeling of all on this disc. All John Prine fans must purchase, savor, and compare. Any other interested party should consider this a terrific 'Introduction to John Prine': purchase, listen, learn, then explore the originals as well. It is not very often that we get a chance to see how such an essential artist reapproaches so many hallmark songs and bends them ever so slightly, I should age so gracefully. Very enjoyable and highly recommended.

Mellow Prine
If you are a John Prine fan, you will have to have this one.
It's all of John's best songs recorded in a bit slower beat, with better production and instrumentation than the original recordings. Usually, I don't care for re-recorded former songs, but this is a definite exception. If you've heard the originals, you will love these. They reveal John's growth
as a performer. These songs deserved this touch up.
Thanks John.

John Prine's Songwriting Brillantly Excecuted
This is the albumn for those who do not know John Prine. His songwriting skill coupled with possibly the most poetic lyrics written in the last several decades make John Prine songs a joy to listen to. With Souvenirs, we have a clean, unmanipulated rendering of his most beuatiful songs. John Prine's voice on the album comes through so clear, so present, so wonderfully bare. Anyone who likes the sound great acoustic guitar music will appreciate this albumn. You really will find yourself playing it again and again. At first repeating the really well known hits life "Angel from Montgomery" but soon realizing that every song on the albumn is worth attention as a masterpeice .

The John Prine Songbook
Now entering his fourth decade as a recording artist, John Prine has created a body of work that will endure for generations to come. Better and funnier than any other American songwriter, Prine lovingly details the weirdness, fallibility, resilience and gentle good humor of Joe & Jane Average.

Having come off of a startlingly creative peak with The Missing Years, Lost Dogs & Mixed Blessings and the country masterpiece In Spite Of Ourselves, Souvenirs can be initially perceived as a letdown. The vast majority of the songs on this holding-pattern album have already appeared on Prime Prine, Great Days and his two sublime live albums. Originally recorded as demo tracks so that he could regain ownership of his Atlantic & Asylum material, Prine himself seems to toss it off as a minor entry in the liner notes.

And yet, Souvenirs somehow transcends all this and is a very fine album. Fish & Whistle, Christmas In Prison, Far From Me, Grandpa Was A Carpenter, Six O'Clock News, Storm Windows and the astonishing title track receive definitive readings here, proving that less is more when it comes to the arrangements and production values of Prine's songs. Previously burdened by producers and record companies that just didn't get him, John Prine has used his own Oh Boy! label to illustrate precisely how to record his unique work.

Even deathless staples such as Sam Stone, Hello In There and Angel From Montgomery are given full-bodies performances that, while not in the same league as their original recordings, are far from being tired nostalgia. Still, this would have been a great opportunity to reintroduce fans both new & old to lesser known gems such as Your Flag Decal Won't Get You Into Heaven Anymore, Pretty Good, The Hobo Song, The Accident (Things Could Be Worse), Iron Ore Betty and A Good Time.

A lovely token for his faithful, let us hope we are soon rewarded with a new batch of Prine originals in the very near future. ... Read more

Amazon.com

After the more laid-back excursion of Walk Between the Raindrops, James McMurtry returns to the more raucous sound of his John Mellencamp-produced debut, Too Long in the Wasteland, and the follow-up, Candyland. Aided by the electric guitars of Stephen Bruton, David Grissom, and McMurtry himself, Saint Mary of the Woods rocks as much as it "folks." The talent for vividly painted, finely honed observations of rural life and interactive hearts that he inherited from his father (Larry, the novelist) has been augmented here by some diverse musical influences. "Lobo Town" borrows from Robert Palmer's "Addicted to Love," while the rhythm of his "Choctaw Bingo" lyrics can trace a direct lineage to Chuck Berry's "Maybellene." McMurtry also covers a Dave Alvin tune ("Dry River") and enlists composing help from bandmates and engineers. Rather than add up to a writer having creative problems, it appears here more like an egoless acceptance of inspiration where he finds it. It works. Saint Mary of the Woods is a fine addition to a first-rate catalog by a consistently excellent artist. --Michael Ross ... Read more

Reviews (22)

Amazing
James never ceases to amaze me. Living in Austin and having the pleasure to occasionally talk with McMurtry, I can say that his remarkable songwriting is only exceeded by his extreem modesty. Saint Mary of the Woods isn't just a record, it paints a picture. It's like a novel in music form. The lyrics are thought provoking and the music is intelligently written. James seems to have this innate ability to write folk songs that, simply stated, rock. Unlike those many, many songwriters out their that call their music modern folk, when they are simply just doing boring rip-offs of their predicesors, McMurtry constantly reinvents the way folk music is to be viewed (or listened to that is) with every album, and Saint Mary of the Woods is no different. The title track of the album pretty much somes up the way I see McMurtry as a songwriter: complicated, yet so simple. I must add too that the production of this record is top notch.

McMurtry, Repeating Himself
I've been a big fan of James McMurtry ever since the release of his fabulous debut album, "Too Long in the Wasteland" back in 1989. Unfortunately, it pains me to report that his four-year hiatus between studio releases has apparently not reenergized his songwriting. The problem asserts itself right away on "Saint Mary of the Woods," Musically, the first two songs simply cannibalize McMurtry's back catalog. "Dry River," despite being a Dave Alvin cover, is a sweeping epic that sounds like several others from the mid period of his career; while "Valley Road" sounds like an outtake from the debut album. Then comes the title track, which takes entirely too long to unfold at over six minutes.

All that said, this is not a bad album. The production is crisp and clean, McMurtry is in fine voice and can still turn a clever lyrical phrase as well as any songwriter. It's just that for the most part, none of the tracks on the album stand out. In the past, McMurtry's best music could get you humming and thinking at the same time. On "Saint Mary's" the humming factor is largely missing. Fro example, the closing tack "Choctaw Bingo" is eight minutes long with a lyrics sheet that looks like one of McMurtry's dad's novels. By the end of it you feel like you've read one.

Overall, a average album that doesn't stand up to McMurtry's best work.

He's got the best lines...
...the best opening lines of anyone I've ever listened to. I bought this CD, unsure whether it would be a keeper: I've seen James McMurtry twice, once in a small indoor venue and recently at an outdoor festival. While I'm unsure his concert style will ever earn him legions of fans, his song-writing ought to. This CD is one of those that gets ever more interesting the more it's played. True storytelling combined with great music-- it's a keeper!

Valley Road shines on this album
Very impressed. A huge argument for nature vs nurture. His father must have past him some incredible 'wordsmith' genes.

Excellent; Intellegent; Incredibly Rich
I must confess: though I do consider myself an avid music fan, and I'd like to think that I have great taste over a wide range of styles, I still can't help but be a bit biased every time I drop $$$ on an album. For me, it's entirely psychological, and entirely personal; for some reason, I can't avoid feeling that if I make the conscious effort to spend $$$ on a CD, and it turns out to be a failure, then it reflects negatively on myself. So, what this has led to is a sort of sympathetic bias for albums that I purchase, even if, deep down, I know they're missing something. Certainly, this has been less of an issue with the advent of Amazon's preview clips, not to mention the listening stations at our local record store, but I digress...

Why am I telling you this, you may ask? Well, I picked up this album yesterday after hearing only "Valley Road", never having heard James McMurtry before then...and I must say that it was, quite honestly, worth the $$$. At first I thought I was listening to Bruce Cockburn's twin brother (which wouldn't be a bad thing in and of itself), but he's not as lofty [ephemeral] as Bruce can be at times, and really produces rich, eloquent, folk-driven tunes to accompany his soothing, eerily Cockburn-esque voice

"Valley Road" is undoubtedly the most "catchy" track, but that's not to say that it's not without it's deeper charms. However, some of the other tracks, such as the title track, seem to delve deeper into some personal stories or discontents. The satisfying escapism and seemingly self-righteous lambasting of urban culture of "Out Here In The Middle" goes just far enough as to make you retain respect for McMurtry (any further and he'd be tiptoing the line of "Thank God I'm a Country Boy" or some other such nonsense). The curious conflict of self-righteousness and self-criticism are enough to make you crack a smile. Yet, the overriding feature that I notice throughout this collection of tonally satisfying and solid tracks is his songwriting ability; I seem to sense a modern Dylan-esque storytelling-in-song trend throughout, which is such a wonderful breath of fresh air in an era when certain "songwriters" feel the need to inform us that they need to purchase 2 pairs of sneakers in case one gets dirty. That's not to say that there aren't great singer/songwriters around, but that McMurtry simply accels in this arena.

Overall, this album is a fantastic success. The incredibly vivid imagery in the lyrics, something that mustn't be overlooked, seems divinely created for the instrumental feed that each one accompanies. What an album! The complexity and richness of both the lyrics and the music behind leave little to be desired...if anything, you'd love to see him hit the heavy riffs of "Out Here In The Middle" a couple more times... ... Read more

Amazon.com

The title owes to a Joni Mitchell composition, which is appropriate, as Rush has been one of Mitchell's best interpreters--his languorous, sweet version of "Urge for Going," (included here) case in point. This '60s folk classic is also notable for the haunting originals, particularly "No Regrets" (covered later by Emmylou Harris), with its matching of dark guitar lines and Rush's hushed baritone. --Roy Francis Kasten ... Read more

Reviews (11)

Some stunning covers and one perfect original
This is a wonderful album that any fan of singer-songwriter music should own. The covers here of Joni Mitchell's "Urge for Going" and "Circle Game" are as beautiful as any folk interpretations I've heard. And Tom's own "No Regrets" is one of the few perfect break-up songs ever written. His performance of it is equal to the song itself. Pick this one up, you won't regret it.

Nostalgic Music
I attended a small college in southern Maine in the late sixties. Some of my friends listened to this record, Circle Game (vinyl discs existed then). I remember the cold winds in the Maine woods announcing the arrival of winter. There is no song in my mind that conveys that feeling better than "Urge for Going". My other favorite from this collection of songs is "No Regrets". Tom Rush's music has such an evocative, plain elegance that always makes me think of the late 60's and all the experiences of being in the eastern U.S. during turbulent and challenging times.

A true classic
A masterpiece. Rush is an outstanding guitarist and singer, and the arrangements are superb. Everything magically came together for Rush on this recording. "Urge For Going" and "No Regrets" are highlights, but there is not a weak track on the album. Thank you Tom Rush!

This was new, I was young, no one sang the way Tom sung...
Late 60's, out of college, can afford an album a week, and can't decide between protest, rock or stuff you love that isn't either of those. That was Tom Rush and me for a couple of years. I liked all kinds of music, tried to own some of every genre, but "Circle Game" was a favorite and I wore my vinyl out. Part folk, part blues, a little bit country, even a little rock and pop flavor...this one had it all. He taught us who Joni Mitchell was before she could sell us records on her own...did the same for James Taylor, Jackson Browne and others. He found and elevated young songwriters of genius, sang well, played great guitar, took his time with the tunes. Rush balanced fun and melancholy, a beat and thoughtfulness, better than anyone else at that time. It is still a hugely enjoyable record, and worth owning if you like this kind of art. Tom moved from the Elektra label to Columbia shortly after this one came out, and sold more copies, but he never made a better album overall.

Worth it for the Joni Mitchell covers
The CD is definitely worth purchasing for the outstanding renditions of the two fine Joni Mitchell songs, Circle Game and Urge for Going (which, by the way, is only available on the "Hits" album sung by Joni herself). Circle Game of course everyone knows, but Urge for Going is truly a great song and it is a mystery why it never appeared on Joni's albums or why it isn't better known. The rest of the songs are pleasant listening but I would not rank any of them as great or even near great songs. ... Read more

Reviews (9)

Another must-have MMM album
It seems like all of MMM's albums are classics, but this one has the breakout hits 'Wildfire' and 'Carolina in the Pines'. Hidden later on is the song 'Without My Lady There', which has a California sound that I think Jimmy Buffett imitates so poorly. The songs are well-written and the music is awesome...this is an album for the MMM collection no matter what!

My first experience
This album was my first experience listening to Michael Murphy (no "Martin" back then!).I fell in love with him and every single song on the album (no CD's back then, either!).Yes, "Wildfire" is wonderful and I played it at my wedding, but I love "Carolina In The Pines" and even "Desert Rat" has it's own special meaning."Blue Sky Riding Song", "Medicine Man", "Night Thunder", "Wild Bird", "Secret Mountain Hideout" and let's not forget "Without My Lady There".I think all of the songs are great!Mr. Murphy was in concert here a few weeks ago and it was my first opportunity to see him perform live, it's nice to have someone like him perform in the smaller towns in the country.Thanks, Michael, we truly appreciate it.Michael "Martin" Murphy has always been a great singer/songwriter, please, keep up the good work for another thirty years or so!

She ran callin' "Wiiilllllllddddddfffiiiiiirrrrrree! "
The only *fantastic* song on this CD is Wildfire, (as it is also my favorite) but his other songs are great too.

A Long Time Ago; On A Trip Far Far Away............
............I remember it was my first trip to the West. I lived inVermont all my life and had always only read about or dreamed about theWest. I was a lover of music with a wandering soul. I had recentlypurchased this album and transfered it to cassette to play in my car. SinceI had several other "homemade" cassettes to play, I didn't slidethis one into the player until I was somewhere beyond the Mississippi.After a complete listening, I began to realize that, when Michael Murphywrote these songs, that he had to be thinking about the places that I wasnow seeing for my first time. Every song on this album conjures up an imagefor me of someplace I found on that trip, and on every other trip that Ilater took out West.

For anyone who has not toured "The West",when you do, have this album in your cassette or CD player. Then, somewheredown the road of your life, you'll hear one of these songs somewhere, andtrust me here, you will feel the NEED to return to the West. It happened 2more times for me, the last one being 1988. I'm due!!

Thanks Michael!

Pretty Good 70's Cowboy Pop Music
I like this album as it has quite a few good songs from the 70's era. Considerably better than Murphey's "Swans Against The Sky" album of the same year, Murphey's best know song is here, the original,"Wildfire" and is one of the best songs of the last threedecades. Other highlights are "Carolina In The Pines", "BlueSky Riding Song", "Medicine Man" and "NightThunder". But all the songs are very good and I highly recommend thisalbum along with "What's Forever For" and many of his other 80'sand 90's stuff. ... Read more

Reviews (19)

In his most "pop" record, McMurtry hits big!
James McMurtry, known for for slow mellow tunes on the life in West Texas. Mr. Murtry has a gift for writting "songs that tell a story" and in this cd he gives his best effort in making the listeners ease into his tales. This album has the most "pop" any of his others have had (mainly because this was his last effort with those weesels at Sony) but after listening to songs like "Fuller Brush Man", and "Rayolight" you can feel McMurtry's greatness!

An album you can leave on "repeat" for days...
The depth of the lyrics and melodies on this album are amazing. I first heard James McMurtry on KGSR (Austin radio station) and went out to buy this album. Strong from beginning to end, though strangely the title song is the only one wearing thin. I particularly like the moody "Lost In The Back Yard," the restrospective "Fuller Brush Man," and the intelligence of "Rachel's Song." Good stuff.

I like this one!!!
Great CD. Having a hard time keeping it out of the car and home CD player. Good song writer and good tunes. I definately recommend if you're into any kind of alt. country/folk music.

One of my "desert island discs"
If you were the son of the guy who wrote "The Last Picture Show" (father Larry McMurtry), what would you do? Paint houses, build houses, tend the bar, and generally pretend like you're not your father's son so that you don't have to live up to the expectations. But lucky for us, the younger McMurtry eventually got around to writing songs in his late 20s, and he had a hell of a lot to say. Thankfully he took the high road and didn't pre-judge every last podunk town and oddball hick in the Texas outlands that were his home. Rather, he told it like he saw it, maybe because he himself had stayed "too long in the wasteland" (ironically the title of his 1988 debut album.) By the time McMurtry hit his mid-30s, both his songwriting and guitar chops had matured to the point that I think this album can be favorably compared to Bob Dylan's opus "Blood on the Tracks" (also written in his mid-30s.) Yes, I say favorably, because "Where'd You Hide the Body" has absolutely no filler, whereas "Blood on the Tracks" suffered from the inclusion of "Lily Rosemary and the Jack of Hearts" and out-of-tune instruments on some tracks. The title track here is indeed the standout, but the songwriting quality is outstanding throughout. Plus, McMurtry's got the dusty voice (and the gritty guitar, a Fender VI electric) to match the content.

Keep your hands where I can see 'em so I won't have to shoot
James McMurtry inherited the storytelling gene from his father, novelist Larry McMurtry ("Lonesome Dove", "Dead Man's Walk", "Terms of Endearment", etc.). This album features some of his most interesting and catchy work, as he sings about love, heartbreak, childhood, and drunkenness. Highly recommended. ... Read more