1000 Kisses
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Audio CD (09 April, 2002)
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Editorial Review

Since the breathtaking purity of her debut,Living with Ghosts, Patty Griffin has proven she can luxuriate in glamorous pop,rock like a biker, hold her own on stage with theDixie Chicks, and writehit songs and singer-songwriter classics. What she hadn't done is craft an albumas wholly exquisite and emotional as her talent. With the spare, acoustic1000 Kisses, she has done just that. In the basement of longtimeguitarist Doug Lancio's Nashville home, Griffin takes a suite of intenselypersonal songs (and three covers, including a tingling version ofBruce Springsteen's"Stolen Car") into the close confidence of her airy but twang-shaded voice, anddraws accordion, cello, mandolin, brushed drums, and evenEmmylou Harris into acandid and rare musical space. After a four-year wait, 1000 Kisses ismore than reason to celebrate Griffin's return--it's a guileless, glowingmasterpiece. --Roy Kasten ... Read more

Reviews (83)

Patty Griffin's warm and welcome "Kisses"
I attended a concert earlier tonight at Joe's Pub here in NYC where Griffin performed most of the tracks from 1000 KISSES live. That, after weeks of daily aural intake of an advance copy of the CD. Seeing Griffin perform live will always be one of my favorite things. Greedily, I always leave her shows wanting more. But, happily, I'm always filled to brimming with the quality and honesty of what she delivered.

I've been hooked on this remarkably talented artist's music since the folky LIVING WITH GHOSTS was released nearly 6 years ago. FLAMING RED came two years later and shared a similar quality of songwriting with its predecessor, albeit with a bigger, bolder sound behind it than LIVING WITH GHOSTS.

Now, 1000 KISSES curls easily into the ear with a little of both those previous outings evident.

Before the wrapper is even off the CD, the first thing most listeners will notice is that 1000 KISSES offers the fewest vocal tracks from a Griffin album to date (Track 10 is an instrumental reprise of "Mil Besos," which I'll get to later). But Griffin has never been one to opt for quantity over quality, which one would be foolish to hold against her when what she presents is so solid and whole just as it is. As has been happily reported in industry magazines, this is undoubtedly Griffin's most honest and emotional album yet. And that's saying a lot considering how much those qualities were already evident in her previous work.

A number of fans balked at the forward-thinking approach to production on FLAMING RED, complaining it was too beefy, too rocky. Those folks should be pleased to know that the production this time around certainly leans more toward the organic sound of Griffin's debut CD. But it should be noted, the sometimes jangly barebones structure of LIVING WITH GHOSTS has been refined in 1000 KISSES, with much of that credit going to the production and instrumental talents of Griffin's trusted guitarist, Doug Lancio.

I've never had any complaints about Griffin's style or the way she chooses to best highlight her work. She's adventurous. Thank goodness for that. That spirit continues today. To me, the most exciting aspect of 1000 KISSES is the addition of a couple of successful forays into places previously only alluded to by this increasingly ubiquitous singer/songwriter with the eternally charming talent of reminding us of the familiar and forgotten.

If there's a weak point in the album, it's "Chief." Griffin reports that the song was inspired by someone she remembers from her childhood. As such, I'm sure it's very personal to her, but I don't know how well that feeling translates to the listener. It's a perfectly good song, but not one to which I believe a large number of listeners will be able to relate on their own personal levels. At worst, it will glide by unnoticed.

But, even in the unlikely event that you end up hating that song, the rest of the album more than makes up for it. I won't go into every track, but a few tracks deserve special acknowledgment.

In "Making Pies," Griffin lovingly tips her hat to her childhood neighbors, the working women who schlepped to the Table Talk pie factory each day to churn out pies. This wonderful song was supposed to appear on SILVER BELL, the album Griffin was working on when she was dropped by her former label. Fortunately for all us, this track survived the frutrating snafu that kept its original mates from being included on 1000 KISSES. I have a mental short list of favorite Griffin songs and this is easily in the Top 5 now; in fact, it's probably coming in at 2. This song expertly shows Griffin at her most economical as a songwriter and most poetic as an artist.

Several reviewers have called 1000 KISSES Griffin's most "personal" album yet. To some, it might seem odd to read that sort of comment, especially given that Griffin has included three cover tunes on the 10-track album. But she made her selections wisely. Each of the covers Griffin chose to cover not only fit perfectly with the mood and maturity of the album, they are beautifully transformed by the ways of her voice.

Springsteen's "Stolen Car" sounds like it was written for Griffin to cover. She's able to put a softly bittersweet and entirely feminine spin on what had already started as a tender heartbreaker from a man who was lost somewhere in his own life. Not even Melissa Etheridge's "You Can Sleep While I Drive" can match the quiet emotion Griffin puts into this one.

"Tomorrow Night," for which Griffin credits Bob Dylan for teaching her, is one of two tracks on the album about which I'm most enthusiastic. If you enjoyed the smoky, jazzy feel of "Go Now" on FLAMING RED, you'll love Griffin's treatment of "Tomorrow Night." It swings slow like a Patsy Cline piece. I'm excited to see Griffin stretching her wings further into her own spot-on interpretations of jazz, blues and gospel.

And then, finally, there's the title track. Well, it's not really the title track. It's the old Tejano standard, "Mil Besos," from which the English-translated album title was pulled by Griffin who humbly blames the decision on being a 'gringa.' But there's no need for her to be humble, especially for her decision to take her cellist's advice and tackle Spanish lyrics. With sultry flair and a hint of bombast, Griffin puts her stamp on "Mil Besos" and leaves the listener, once again, blown away.

Thanks for the KISSES, Patty. You and your music are beautiful.

This only leaves me wanting MORE!
Though this album is better than 99% of the music out today, I thought "Flaming Red" was a masterpiece. When she rocked, SHE ROCKED! When she toned it down, she showed off one of the most beautiful voices on the planet. I liked the contrast presented in "Flaming Red."
With "1000 Kisses," Patty goes back to her first album but more polished. She has many shining moments: Rain, Stolen Cars, Making Pies, Long Ride Home. Powerful songs with an incredibly powerful voice. Very few artist can even come close.
I saw her on Sessions on 54th on Trio last night, then saw she had a new album when I was wondering around a record store today. She played a song on the show called "Silver Bell" that COMPLETELY BLEW ME AWAY! I was disappointed not to find this track on this new album.
I WANT MORE! I WANT MORE OF ALL OF IT...the acoustic, the straight-forward in-your-face rock, the beautiful voice...ALL OF IT! "Flaming Red" was awesome, "1000 Kisses" is an incredible appetizer for what Patty Griffin has to offer.

A musical miracle!
How did I survive before I discovered Patty?? She combines folk, country and lyrical depth to forge her own unique musical magic. Listen to "rain" to indulge your melancholic, introspective side, "mil besos" to feel uplifted and care-free or "tomorrow night" if you're just feeling plain nostalgic. My favourite track is "nobody's crying"; the lyrics express the fear and uncertainty experienced when a loved one dies, and the longing for their safe passage: "may you dream you are dreaming in a warm soft bed,/and may the voices inside you that fill you with dread/make the sound of thousands of angels instead". My only initial criticism was that her voice sometimes seemed a little grating and insensitive, but eventually found this added a raw, emotive quality (best exemplified in "Living with Ghosts"). I recommend this album to anyone who has a soul - and then buy "living with ghosts"...that's an order! Let's hope "Impossible dream" lives up to its predecessors.... ... Read more

Asin: B000063DG3
Subjects:  1. Pop    2. Rock   

Ballad of Sally Rose
Average Customer Review:
Audio CD (30 June, 1998)
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Features

• Import

Reviews (19)

A Concept Album
This is an interesting album from Emmylou Harris. Released in 1985, it stands as one of her best. Avid fans will want to get their hands on this cd, it's pretty rare to find but worth the search! This is the first album in her career where she wrote or co-wrote all of the songs, something she is more inclined to do on her newer albums. She is an excellent songwriter in my opinion. The album works as a concept album, telling a story of a girl from a small town who gets taken under the wing of singer that takes her (and her angelic voice) out on the road. Which is sort of like what happened with her and Gram Parsons. To get the story of the album though you need to read the liner notes. She truly shines on the slower ballads such as "Diamond in My Crown" and the closer "Sweet Chariot." Not an essential album for casual fans, but the hardcore Harris fans will either already have this, or be looking for it.

Best Emmylou Harris Album I know of
This should be Emmylou Harris' ultimate album. She wrote it (with some help and some medleys) pretty much entirely, and it holds together as a "concept" album better than Rick Wakeman's 'Journey...", which is saying something.

Ok, the story is PURE Nashville "my dog died". So what? The music is BEAUTIFUL.

The beginning (Ballad of Sally Rose) is a setup, both musically and plotwise, that does the album well. The change, as it were, in "Diamond in my Crown" is wonderful, and the ending, well, um, good for grabbing a few hankies.

But the music is WONDERFUL, even if the plot is a wee bit traditional and predictable.

It's a shame this one isn't currently available.

Back at Last!
I "inherited" this album as a cassette tape I found in my husband's car about a decade ago. After wearing it completely out, I was heartbroken to find that it was no longer available, but determined to find a copy even if I had to get another old tape on e-bay or some such place. After checking back periodically, I was thrilled to finally find an import version at Amazon today. I only hope that the sound quality is as good as the American release; however, it couldn't be much worse than my old, mangled (and now totally unplayable) tape! ... Read more

Asin: B0000070R9
Sales Rank: 6856
Subjects:  1. Pop    2. Rock   

Small Revelations
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Audio CD (14 January, 1997)
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Reviews (3)

Real blues, real bluesman, real fine music
Musically, there is a great distance between the "live" Smithers, rocking over the sweet guitar, stomping his feet and bellowing out lyrics and notes, and the produced, rich, full sounds on albums such as these. This is the one I play most on the radio, especially the "deeper" cuts in the middle of the album and, of course, "Small Revelations" itself; the others I listen to alone after a long day, immersing myself in the raw voice and stomp of the foot. Most folks like one or the other best, but I don't think one can choose -- it's almost as if he were two great musicians, not just one. So I recommend all of Smithers' work, from the oldest songs now covered by the likes of Bonnie Raitt to the newest sound on the other end of the "live" spectrum, like "Small revelations" -- but buy this one first if 1) you need an introduction to his work (and then get a live session album, too), or 2) if you need an album to introduce your friends to Smithers. Then find them copies of "I Feel the same," "It ain't easy," and "Real Fine Love," the best Smithers' songs anywhere, both live and produced.

BTW, on my personal copy of this, my father, who introduced me to Chris' earlier work while I was still prenatal, had Chris sign "To Joshua, who has a cool dad." Thanks, Dad.

Chris Smither's best !
I agree with the person before me, who said this is chris's best. Mostly original songs, these are his finest. Buy this first, then 'Drive you home', then 'Another way to find you', then 'Up on the lowdown'. Chris is a master guitarist and songwriter.....

Excellent Smither!
I still believe this is Chris's best. His versatility and song writing capability really shine through on this one..."Small Revelations" most of all. ... Read more

Asin: B0000005RY
Sales Rank: 55623

Revival
Average Customer Review:
Audio CD (12 June, 2001)
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Editorial Review

Gillian Welch has captured the ethos of mountain music in a way that few lowlanders have managed, and that's just a little disconcerting. Outsiders aren't supposed to be able to infiltrate tight-knit clans. Producer T-Bone Burnett creates intimacy by recording Welch live with a small cast of supporting players, including Welch's partner, David Rawlings. While many of the songs are built around duo acoustic guitars and two-part harmonies, Burnett spices up a few of them up with some neat tricks, mixing an upright bass above the vocals on "Pass You By" and getting a fat, dirty sound out of three instruments. Welch's vocals, meanwhile, are stoical and matter-of-fact as her songs, which are infused with a repressed dread and contrition that's utterly convincing. White gospel tunes like "Orphan Girl" and "By the Mark" feel as if they were culled from hymnals, yet they were written when Clinton, not Coolidge, was president. --Steven Stolder ... Read more

Reviews (60)

A gem buried in coal dust
Gillian Welch's "Revival" is the sort of album that you wish everyone--and no one--knew about. With songs of poignant clarity, vignettes that reveal neither too little nor too much, and a voice that knows how much each song needs and stops there, rather than pushing too far and spoiling the lyrics to showcase the artist, this is an album that deserves more attention than it has received--and yet, it is one where you can revel in its relative obscurity, as if you and Gillian were sharing an intimate secret, telling tales on the porch in old rocking chairs. "Revival" puts Gillian Welch in the class of such artists as Emmylou Harris and Over the Rhine's Karin Bergquist--singers who have, not coincidentally, both covered the opening track, "Orphan Girl." This is an album that should claim a special nook in your CD collection.

Best music I have heard in a long, long time..
I first came to listen to Gillian Welsh because I wanted to hear her own rendition of 'Orphan Girl', as she is the writer, after I heard Emmy Lou Harris cover it. I must say, I became entranced by the entire CD and listened to nothing else for over a month.

I don't know who she is or how she does it, she and Ken Rawlings, but I hope she continues creating this musical magic. They can truly transport the listener back to a time and place that is not recent, not modern, even though the songs were borne of this decade and not generations ago in the mountains of East Tennessee. Every once in a while, she'll throw you for a loop by bringing you back to the present with a song like 'Pass You By' or 'Barroom Girl', even though it fits right in with the rest of the musical pieces.

I have not been this impressed with the craftsmenship and pure creativity of ANY musicians for a very long time...maybe since I was a young woman and first heard Joan Baez sing. Every song here is peerless, a gem in it's own right.

Essential Gillian Welch
Forget the hype of 'O Brother Where Art Thou'. Forget about "alt-country". Forget about "mountain music". This is the debut album from Gillian Welch and David Rawlings. And its an experience.

How can you NOT mention Rawlings every time you talk about Welch? It is only together, that they've created some of the most beautiful, haunting, melancholic songs I have ever heard. I've been fortunate enough to see them play on two occasions, they're also outstanding live musicians and they had the audience spellbound for the entire length of the concert. This is the perfect record to start your GW/DR collection with... ... Read more

Asin: B00005KHE3

Return Of The Grievous Angel: Tribute To Gram Parsons
Average Customer Review:
Audio CD (13 July, 1999)
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Editorial Review

The gentle hand of Emmylou Harris guides this tribute to ill-fated country-rock avatar Gram Parsons, which goes a long way toward explaining why this star-studded salute avoids the pitfalls that befall many such projects. Harris got her start harmonizing with the patron saint of alt country, contributing mightily to Parsons's two early 1970s solo albums and reviving selections from his small, but indispensable, oeuvre throughout her career. She has a vested interest in finding a true connection between her former benefactor and this cast of Parsons partisans. Here she bands together a flock of followers who range from obvious offspring (Wilco, Gillian Welch, Whiskeytown) to not-so-evident disciples (Beck, the Pretenders, Sheryl Crow). Parsons's partner in the Flying Burrito Brothers, Chris Hillman, teams with Steve Earle on "High Fashion Queen," and David Crosby (like Parsons and Hillman, an ex-Byrd) joins Lucinda Williams on "Return of the Grievous Angel." Harris harmonizes with Beck on "Sin City" and shares the mic with Crow on "Juanita," one of the collection's highlights. Ultimately, Harris has assembled a homage that would've pleased her old mentor. --Steven Stolder ... Read more

Reviews (73)

The children of alt-country's father do him justice
While I'm no disciple of Gram Parsons, I admire his work and have been a long-time fan of alt-country. (A love no doubt fostered by having the Mavericks as the house band at my local bar for a few years!) When I chanced upon this disc used, it seemed like a safe bet.

It was. In "Return of the Grievous Angel," I've found a warm, wonderful tribute to Parsons by artists who both understand and respect what his music was all about. While the covers from Wilco, Chris Hillman and Whiskeytown are predictably sublime, a welcomed surprise was the great effort put forth from some unexpected sources.

For example, Elvis Costello's "Sleepless Nights" is as remarkable as it is natural, and while it's hard to have much respect for pretty-boy junkie Dando and his whiny rich-kid cohort Hatfield as people, as artists, they DO have a talent for these kind of songs, and their version of "$1,000 Wedding" is outstanding. Heck, even the loathesome Beck (with the help of Emmylou Harris) does a good job here.

The only possible miss is the Cowboy Junkies' extremely slick version of "Ooh Las Vegas." While the production is stellar (you can almost swim through the sound), it sounds a bit too much like a movie soundtrack cliche' to these ears - it's a little TOO good.

A minor quibble, though. All fans of alt-country and/or Parsons will be well-served by this gem. Enjoy.

You'll Never Believe This Is A Tribute Album.
RETURN OF THE GRIEVOUS ANGEL is far too good for the tribute album stamp. Tribute albums are known for being notoriously bad, offering second or third rate version of songs by an artist, with arrangements similar to the originals. However, none of this is present on this exceptional album. Part of the reason might be the strenght of Gram Parsons's song. Another might be the fact that the ultra-talented Emmylou Harris served as executive producer. The artists who made the recordings also have a remarkable amount of talent listed in order of appearence on the record: The Pretenders, Emmylou Harris, The Cowboy Junkies, Beck, Evan Dando, Julianna Hatfield, The Mavericks, Chris Hillman, Steve Earle, Sheryl Crow, Elvis Costello, Lucinda Williams, David Crosby, Wilco, Whiskeytown, Gillian Welch, The Rolling Creekdippers. The arrangements of these songs are intriging, and perfectly performed. "She" is a beautiful song, which sounds natural, but not identical to, the arrangements of Gram Parson's original. "Ooh Las Vegas" is completely re-worked, which is a brand new sound experience, sounding almost other worldy. "Sin City" is an outstanding duet, when hearing this for the first time, I got a clearer meaning of the song. "$1,000 Wedding" is a beautiful, and powerful song. The Mavericks give "Hot Burrito #1" a new great flavor, keeping the song fresh and eager. My second favorite on the album (next to the title track) is "High Fashion Queen" sung by the brilliant talents of Chris Hillman and Steve Earle. The song is great country-rock music, and flawlessly written. Emmylou Harris and Sheryl Crow sound like angels performing "Juanita", the harmonies are gorgeous. Elvis Costello delievers a marvelous version of "Sleepless Nights", the only cover version on the tribute album. My favorite song on the album is "Return Of The Grievous Angel", the title track of Gram Parsons's last masterpiece. Lucinda Williams and David Crosby magnificently re-work the song, and deliever a fantastic track. It sounds almost like it belongs on Lucinda Williams's CAR WHEELS ON A GRAVEL ROAD (also HIGHLY RECOMMENDED). Wilco also marvelously re-works another masterpiece "One Hundred Years From Now". The song here is a straight-out, full-fledged rocker. The majestic "A Song For You" is an emotional song, beautifully performed by Whiskeytown. Gillian Welch performs a gorgeous version of the classic masterpiece "Hickory Wind". "Hickory Wind" is so wonderful, there can't be a way to ruin a song this perfect. The Rolling Creekdippers close the CD on an inspirational note with "In My Hour Of Darkness". No matter what kind of music you love, you'll be satisfied by RETURN OF THE GRIEVOUS ANGEL. After listening to music this good, some of my CDs now pale in comparison. After hearing and buying RETURN OF THE GRIEVOUS ANGEL, I've made a point of buying the original Gram Parson's albums: SAFE AT HOME (with the International Submarine Band), SWEETHEART OF THE RODEO (with The Byrds), THE GILDED PALACE OF SIN and BURRITO DELUXE (with The Flying Burrito Brothers), and GP/GRIEVOUS ANGEL (by Gram Parsons). This is music at its best, just one listen and you'll agree.

Why you guys don't provide 10 stars for this?
Every tracks of this album are so stunning, esp. Sleepless Nights and A Song for You. You will have to find Gram Parsons's work to guarantee his talent. ... Read more

Asin: B00000JMXD

Sheryl Crow
Average Customer Review:
Audio CD (24 September, 1996)
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Editorial Review

Skeptics who attributed the success of Sheryl Crow's 1994 debut, Tuesday Night Music Club, to a combination of Crow's seductive good looks and a shrewd choice of collaborators have been effectively silenced by the range and depth of songs and performances on her self-produced, pointedly self-titled sequel. Playing guitars and keyboards, and building a triumphant, layered vocal style, Crow is tough as nails and drolly soulful on the deft "Change," as noteworthy for Crow's crafty lyrics ("Hello, it's me, I'm not at home/ If you'd like to reach me, leave me alone...") as for its solid, midtempo groove. "Maybe Angels," "If It Makes You Happy," and "Everyday Is a Winding Road" are only the most familiar highlights in a varied and absorbing set that argues Crow is no one's invention but her own.--Sam Sutherland ... Read more

Reviews (117)

Better than her first album
Sheryl Crow's self titled second album is leaps and bounds better than her debut, not to say it was horrible or even bad, but this is truly a great album start to finish. I think this is the album where Sheryl truly found her own voice in terms of her own style of songwriting and just the approach to the music. The album had some very successful singles in "If It Makes You Happy", "Everyday Is A Winding Road" and "A Change Would Do You Good", which are now standard Crow clasics. There are some truly brilliant moments on the album in addition to these hit singles. "Home" is gritty and personal, one of the best songs on the album. "Redemption Day" has some really sharp lyrics that make you think. Much of the music is layered with drum loops and obscure sounds, giving the album a vintage feel to it, at least I think so. Other highlights include "Hard To Make A Stand", "Ordinary Morning", "Superstar", "Maybe Angels", and more. An excellent album!

An Upcoming Star!
This 1996 album shows a lot of promise in who is now known as Sheryl Crow. The sum of the thirteen songs is played somewhat too safe and a tad clunky, but she finds herself in a few gems. Almost like a female "Eagles", Ms. Crow exhibits talent in many styles.

"Ordinary Mornings" has her screaming the blues with a great guitar lead that matches her vocals. "Torch Song" makes for a good bluesy number also with a nice guitar lead. If you're looking for a little country-western rock, "Redemption Day" easily satisfies that area. She could have done an entire album on that subject.

"Hard To Make A Stand" and "Love Is A Good Thing" are MOR but still provide a semblance of good funk to keep anyone satified. Only on the hit, "Everyday Is A Winding Road", Does Sheryl Crow come into her own - and it's a great single that set her off in the direction she now follows. It's upbeat, dancey and cheery.

This may not be her best stuff, but it sure has enough on it to make it worth the purchase.

This record doesn't need any title
With this her 2nd album, Sheryl Crow proved that she was much more than a beautiful face: all the songs are completly different and any of them is bad; what is more, every of them, in special "love is a good thing", contains a message that makes one want to be rebel.
For me, her best record. ... Read more

Asin: B000002G62

Perfect World
Average Customer Review:
Audio CD (18 June, 1996)
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Reviews (7)

This is a very good album
I purchased this years ago and have since seen Judith Edelman in concert (also a few years ago) and she is terrific!

Also loved "Only Sun," haven't listened to "drama queen," yet.

Correction on first review
This IS Judith Edelman's debut album. And she rocks it up!

No Need to compare her to ANYBODY
I had gotten Judith Edelman's first two albums based on nothing but a magazine review, and was very impressed: She seemed to be sort of a cross between Nanci Griffith and Cheryl Wheeler. Very Wheelerish were "Library Card," and "Blood Reunion." I couldn't wait to get a copy of "Perfect World." Well, I got it and was overjoyed to find that it was better than the first two.

This collection is bouncier, grassier and doesn't go off on murky tangents like the first two did occasionally. This seems to suggest that Judith's writing has settled into a groove that she's comfortable with, without trying to be Lucinda Williams (who doesn't do a thing for me). I had to play the whole thing over and over, turning up the volume on the instrumental - shame it's so short - and louder on everything thereafter.

Although I've only known of her existence for a couple months, it gives me hope that there are more incredibly talented folks out there waiting to be discovered by the vast minority who are fed up with the fluff out of Nashville. Forget the comparisons: with her delightful voice and delivery, and brilliant writing, SHE should be the standard. There's a slot in my cd player reserved for her next classic. ... Read more

Asin: B000002033
Sales Rank: 32874

My Life
Average Customer Review:
Audio CD (12 April, 1994)
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Editorial Review

DeMent's debut album, "Infamous Angel," appeared out of nowhere in 1992 on the small Philo label with a ringing endorsement from John Prine on the cover. It made a big enough splash to be picked up by Warner Bros., and now DeMent has beaten the infamous sophomore jinx with an even better album, "My Life," produced in Nashville by Jim Rooney with musical help from Jack Clement, Stuart Duncan and Robin & Linda Williams. The collection includes songs by Mother Maybelle Carter and Lefty Frizzell plus eight DeMent originals just as powerful in their rural simplicity. --Geoffrey Himes ... Read more

Reviews (30)

My Life's good for you
"My Life" is Iris DeMent's best album to date. While "Infamous Angel" boasts such a country classic as "Our Town" and "The Way I Should" probably contains the best protest song ever ("Wasteland of the Free"), as a whole "My Life" delivers the most satisfactory content. Her favourite themes (family, God, childhood, bygone moments of love and happiness) are fully investigated and a honest attempt of making sense out of life appears throughout the album.
I think that is why John Prine famously stated her music "is good for you".
For example, just listen to "No Time To Cry", the best song in this excellent lot: a heartfelt cry about the loss of her father and the relentlessness of life: "I've got no time to look back, I've got no time to see / The pieces of my heart that have been ripped away from me [...]".
Because of this process, all we can do is to remark that "I'm older now and I've got no time to cry".
"You've Done Nothing Wrong" and "Calling For You" deal with the passing of love. In both songs, this estrangement is nobody's fault, but a natural consequence of life (she seems to imply that happiness is not of this world, so it can't last long). Hence, enjoy yourself whenever you can, as it is said in "Sweet Is The Melody": "It's for celebrating a Friday night romance / Forgetting the bad stuff and just feeling good".
In this blue scenario, you can find comfort in the memory of your infancy ("Childhood Memories") or in religion ("Troublesome Waters" aptly says: "Then gently I'm feelin' the touch of His hand / Guiding my boat in safely to land"). But don't get her wrong: she's not an easily-consolable bigot and even religion seems not to suffice when "Easy's Gettin' Harder Every Day": "There ain't much livin' here inside / Lately I don't know what I'm holdin' on to".
The album closes with a joyful ballad ("And there ain't no way of me knowin' how tomorrow's gonna be / So I'll just dance the shores of Jordan till the angels carry me") and a touching
examination of her life ("But I gave joy to my mother / I made my lover smile / And I can give comfort to my friends when they're hurting / I can make it seem better for a while").
All songs are delivered in an old-country style with a twangy voice. At first it bewildered me, but now I love it and find it very appropriate to her music.
All in all, highly recommended.

Achingly beautiful
Some of the most poignant folk/country music you'll ever hear. In "You've Done Nothing Wrong", Iris laments a breakup but chooses not to blame her former partner. In "Easy's Gettin' Harder Every Day", she perfectly characterizes the day to day drudgery of a life without hope of change for the better. In the title track, she reflects on the simple good things we can accomplish in our lives. These are wonderful songs, but the highlight of the CD is the autobiographical "No Time To Cry", which describes, with tremendous subtlety, the difficulty of adjusting to a parent's death. Great voice, great songs, great CD.

Wonderful, once the taste is acquired
Iris Dement is an acquired taste. Her voice is stark, gritty--kind of like Nanci Griffith without the sweetness. It's more effective for that reason. But the best thing about Dement, especially on this album, is the lyrics and the powerful, highly personal way in which they are sung. Her style is entirely original. Here are no whining confessions or tales of loves past, but mature, compelling insights into life, relationships, society, growing up and growing old.

This was my introduction to Iris Dement. I'll be buying more! ... Read more

Asin: B000002MO6

So Long of a Journey: Live at the Boulder Theater
Average Customer Review:
Audio CD (05 March, 2002)
list price: $16.98 -- our price: $16.98
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Editorial Review

Through the 1980s, Hot Rize's virtuosic brand of bluegrass combined eclectic progressivism with bedrock traditionalism, earning a following that extended well beyond the young quartet's home base of Boulder, Colorado. Though vocalist-mandolinist Tim O'Brien subsequently moved further beyond bluegrass convention as a solo artist, focusing more on his original material, the band's reunion concerts in the '90s remained popular affairs. This recording of a 1996 homecoming performance at the Boulder Theater finds the foursome in spirited form, with a generous selection of 20 cuts. From the spiritual call-and-response of "Keep Your Lamp Trimmed and Burning" and "Working on a Building" to Pete Wernick's banjo breakdown on "Empty Pocket Blues" to the Irish romp through "Colleen Malone," a signature tune for the group, the interplay has the feel of friends who plainly enjoy each other's musical company. The belated release also serves as a memorial to guitarist Charles Sawtelle, whose thoughtful, bluesy progressions give the music a unique dimension, and who died of leukemia in 1999. --Don McLeese ... Read more

Reviews (6)

God Bless Charles Sawtelle
After their amicable breakup in 1990, Hot Rize staged various reuinion concerts over the next several years, including this marvelous 1996 effort secretly caught for prosperity by bassist Nick Forster. Hot Rize appealed to almost every facet of the bluegrass world by, as mandolinist/fiddler/lead singer Tim O'Brien put it, "Making the old sound new." Most of the group's non-original material (O'Brien is a prolific song writer, with Forster and banjoist Pete Wernick also key contributers) came from the classic bluegrass artists/old timey song book (represented here by Bill Monroe's "Blue Night", The Delmore's "Life's Too Short", and Hazel Dicken's "Won't You Come and Sing For Me"), but the band's trademark instrumental synchopation gave their music a fresh, modern sound. O'Brien and Wernick are wonderful players, but the true intrumental "voice" of the band was the late, great guitarist Charles Sawtelle (a/k/a "The Bluegrass Mystery"), whose unmatched tone and clever phrasing pervades and haunts this session.

Hot Rize was one of the hardest working and most popular bluegrass bands of the '80's - and the most remarkable aspect of this concert is how tight and fresh they sound despite their layoff. One senses the compatibility and friendship of the boys in the band throughout. This one is definitely worth a listen - it'll stay on your player for a long time.

Hot Rize at the Top of Their Game
While the always innovative Hot Rize continued to perform reunion shows throughout the Nineties, their last studio album was 1992's Take It Home. That's what makes this 1996 live recording of a couple of Boulder Theater shows such a treat. Hot Rize is performing before an enthusiastic home crowd and the band is hitting on all cylinders.

Although Red Knuckles doesn't make an appearance, the band performs songs from all five of their studio albums on this hour-long CD. What a joyful tribute to one of my favorite bluegrass bands. As bassist Nick Forster says in his liner notes, "This is what we sounded like on a good night." If you're new to Hot Rize, this is a great place to start. If you own their other albums, you'll want this one too. HIGHLY RECOMMENDED

Great live album!
A nice posthumous concert album from one of the big bluegrass supergroups of the 1980s. This album features Hot Rize at their best, professionally plowing their way through a powerful repertoire of original tunes and well-chosen oldies. This set was recorded during a 1996 reunion gig, and band gets a little looser and a little more playful than on some of their studio albums, as all concerned, including the late guitarist Charles Sawtelle, play the good stuff, all sweet and fine. Recommended! ... Read more

Asin: B000060OXG
Subjects:  1. Bluegrass    2. Country    3. Pop   

Sweetheart of the Rodeo
Average Customer Review:
Audio CD (25 March, 1997)
list price: $11.98 -- our price: $10.99
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Editorial Review

After Chris Hillman dragged new friend Gram Parsons into the Byrds, they made an album as close to a country masterpiece as a rock act could ever make. In fact, the only tunes better than the definitive covers here of songs by Bob Dylan ("You Ain't Going Nowhere"), Guthrie ("Pretty Boy Floyd"), and the Louvin Brothers ("The Christian Life") are Parsons's originals, especially the incomparable "Hickory Wind." Sweetheart wasn't the first country-rock album, but with its gorgeous three-way harmonies and sweet pedal steel, it remains the best. --David Cantwell ... Read more

Features

• Original recording remastered

Reviews (58)

Beautiful
You don't have to be a fan of country & western to appreciate Sweetheart of the Rodeo. I am certainly no C&W fan, but I love this album. Of course, it doesn't hurt that The Byrds are one of my all time favorite groups. I love Roger McGuinn's voice and the harmonies of the band as well as Chris Hillman's super bass playing. This album misses David Crosby, but Gram Parsons fit in wonderfully with the band. Parsons fills in for Crosby nicely and his lead vocals on Hickory Wind and You're Still On My Mind are very nice. You Ain't Goin' Nowhere kicks off the album with a great start, and is yet another great entry in the Byrds' catalog of Dylan covers. Sweetheart is a very different sound than previous Byrds albums (much like The Notorious Byrd Brothers was). There's no 12-string Rickenbacker, only pedal steel this time. There's a lot of nice acoustic rhythm guitar on most of the songs though. This a great album, (not quite as good as Younger Than Yesterday or Notorious Byrd Brothers though) full of beautiful harmonies and peaceful, mellow soothing sounds. Essential for Byrds fans.

The Byrds' Country Pilgrimage!
My first introduction to The Byrds came back in 1990 with the release of the boxed set, but it wasn't intil 2001--when, on a whim, I picked up the CD re-issue of "Younger Than Yesterday"--that I REALLY got into the band.

Well, as the saying goes, "better late than never!" Talk about discovering burried treasure, not only have "Younger Than Yesterday" and "The Notorious Byrd Brothers" become some of my favorite albums of all time, but the landmark "Sweetheart of the Rodeo" is actually in my top 5. And I'm not even a country music fan!

"Sweetheart" really opened my ears to a completely different style, and the beautiful home-grown simplicity of songs like "You Ain't Going Nowhere," "The Christian Life," "One Hundred Years From Now, and "Blue Candian Rockies" make the album irresistible catchy.

Byrds mainstays Roger McGuinn and Chris Hillman abandoned their folk-rock psychedelia in favor of full-throttle country music, thanks to the commanding presence of new band member Gram Parsons. The resulting harmonies, inspired lead vocals, soothing lyrics, and mean slide guitar ensure that "Sweetheart" will become a mainstay in your CD player.

Once again, even if you don't consider yourself a country music fan, do yourself a favor and pick up "Sweetheart of the Rodeo." It's an album that no true music fan should be without.

Groundbreaking, but not up to today's best
This album has a few good songs, nothing great certainly. A couple sound like Greatful Dead or Mamas and Papas knockoffs (but then again - who came first?). No doubt a groundbreaking album and it holds up well, but there are lots of better albums out there now in the same genre (get BR549's first or the Rockhouse Rambler's Torch this town or Domino King's Life and 20). ... Read more

Asin: B000002AHB

Old & In the Way
Average Customer Review:
Audio CD (30 January, 1996)
list price: $17.98
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Editorial Review

The landmark original 1975 release, these 10 songs provided a bridge between traditional and progressive bluegrass. The presence of Jerry Garcia greatly expanded the bluegrass audience, exposing thousands of fans to mountain music for the first time, but Garcia's melodic banjo picking and soulful baritone are also essential ingredients. Former bluegrass boy Peter Rowan contributes three now-standard original cuts, and the band covers material ranging from traditionals and Stanley Brothers favorites to the Rolling Stones. Fiddle master Vassar Clements represents the tradition, soaring freely through the verses and breaks with astonishing fire and grace. It remains an important historical document, although the two recent Acoustic Disc volumes (also recorded during the band's only tour in 1973) offer even greater performances and more selections. --Marc Greilsamer ... Read more

Features

• Live

Reviews (24)

Old and Just OK
This is a likeable enough bluegrass album. That said,-Grisman drives this thing. I'm amazed by the power of the mandolin as a rhythm instrument. Less so by Garcia's rhythmic experiments on the banjo....-That high open sound they were trying for....Pig in a Pen and Knockin' on my Door nail it, with Rowan sailing easily along on top. Compares nicely with early Bill Monroe.-Vasser Clements on Kissimmee....this band can play with style and finesse (but his loose-jointed version with Dickey Betts has its charms, too).-As for the rest of it....

An essential bluegrass album!
This CD brings together some really incredible musicians! Not only do you have the considerable vocal and banjo talents of Jerry Garcia but also you've got David Grisman, and Vassar Clements: on Mandolin, and Violin, respectively. Garcia, Grisman, and Clements seem to be competing with eachother on each track for who can pull off the best solo on their instrument. They don't do this intentionally I don't think but they might as well be competing because all three are awesome throughout this entire CD. I didn't know that Garcia could play such a mean banjo, he can actually stay up with Grisman and Clements, who are elite in their field anyway. Grisman is probably one of the best Mandolin players of all time. He is especially good on Wild Horses. To give you an idea of how good Clements is on the violin I'll tell you about the time I went to a bluegrass concert that featured him. Clements was playing with John McCuen and a couple of other guys. Clements must be like 70 years old and he blew every one else off the damn stage. This was recorded when he was I guess around 40 or something and he is just as incredible. The solos he comes up with are SO BEAUTIFUL. All of the tracks on this CD are great and many of them are bluegrass standards. One of the best tracks is their version of Wild Horses which makes you think the Stones should have done it in a bluegrass style in the first place. It's wonderful. This CD is great. I love it! You will probably like it alot too. Once you listen to bluegrass you can never go back.

Wonderful bluegrass music!
Wow! Who would have thought that the blend would be so incredible. A fantastic version of The Stone's "Wild Horses" and the New Rider's "Panama Red" are just some of the more familiar songs this album deals with. Clemens fiddle work carries the album, but all contribute to develop a delightful bluegrass mix. If you like Jerry Garcia, The New Riders of the Purple Sage, or bluegrass, you have to give this album a listen. ... Read more

Asin: B000002VKC

New Seldom Scene Album
Average Customer Review:
Audio CD (25 August, 1994)
list price: $15.98 -- our price: $15.98
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Reviews (1)

Classic Seldom Scene
This is my favorite Seldom Scene album. The Scene is in great form here as original members John Starling, Mike Auldridge and the late John Duffey sing some of the finest harmony in Bluegrass, or any other kind of music for that matter. The musical style is realy innovative here too, using drums, and steel guitar... instruments that you just don't normally find in Bluegrass Music. I can't say enough about the songs in this collection. Songs like Ralph Stanley's classic If That's The Way You Feel, Rodney Crowell's beautiful Song For Life (recently made popular by Country Superstar Alan Jackson), and California Earthquake with beautiful guest harmonies by Linda Ronstadt who did a lot of work with the Seldom Scene. This album was recorded in 1976, but it still sounds as new and fresh as ever. I promise you that you will not regret buying this album. I know people who are not even Bluegrass fans at all, but they love the Seldom Scene. Their music simply appeals to everyone. ... Read more

Asin: B00000024F
Sales Rank: 50333