Tarbox Ramblers
Average Customer Review:
Audio CD (25 April, 2000)
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Editorial Review

On the surface, a modern quartet bringing old-time music into the next century isn't exactly cause for excitement. Yet there's a lot going on inside the music of the Tarbox Ramblers. The gritty guitar work brings to mind the muddiest of Delta blues; the dancing fiddle offers the appeal of string-band music; the rhythms add the buoyancy of jug-band booziness; and the whole band reinvigorates all of these classic styles with a decidedly modern energy and experimental edge. --Marc Greilsamer ... Read more

Reviews (14)

The Best "MakeMeHappy" Music I've Heard in a While
A friend of mine dragged me to hear and see these guys, and all I can say is that this is the music I've been waiting for where all others have failed. You will not be disappointed. A mix of blues standard sound with bluegrass, throw in some slide guitar with a slightly distorted fiddle and bass and you've got some fun music. Think "Biker Bar" tunes. Harley and leathers not included.

Folk Art for the Ears
The Tarbox Ramblers slide and drum and sing and strum their way into the American collective unconscious with songs from the grittier, sweatier, dustier edges of the good ole days. They make you want to travel. They make you want to see get to the old Delta, the panhandle, the places where dirt and sweat live - the guts and heart of the America. You'll want to shout and sing and cry and moan and barn dance and slow-slide your hips to a shimmering rawness before the CD is finished. Get it. Then get it for your friends.

Tarbox Ramblers fertilize & aerate roots music
Michael Tarbox and his band, the Tarbox Ramblers, go to the very roots of rock and bring forth new green shoots from the many branches of early American music. Blues, Black Spirituals, Bluegrass, Honky Tonk. It's all in there. Tarbox's unique vocal style, the arrangements--even the flavor of the production--all work together evoke the early days of pop music recording (without the dust and scratches) and bring new life to classics we should all be familiar with. Get the disc, go see these guys live. The experience is like a history lesson you can dance to. And stomp. And holler. Have a good time! ... Read more

Asin: B00004S548

Damon Bramblett
Average Customer Review:
Audio CD (26 September, 2000)
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Editorial Review

It's the songwriting of Damon Bramblett that separates him from the dozens of Austin-based country musicians playing today. On his self-titled debut, Bramblett meditates on the usual subjects (heartbreak, lost loves, rural America) but gives them twists: he gives a noirish edge to "Waiting for the Mail," he's got an appropriately titled number called "Nobody Wants to Go to the Moon Anymore," and "Champaign, IL" is slow and jazzy. Lloyd Maines's minimal production doesn't embellish these tunes so much as let the great songwriting come to the fore. And Bramblett shines, especially on the tunes that sound honky-tonk ready, "Heaven Bound" and "Today I Started Drinking Again." Don't be mistaken: this isn't alt-country so much as a throwback to good country, the kind of solid writing that existed before the sheen of Nashville and the punk hooks of the Wilco generation stole the C&W stage. If Bramblett doesn't sing a hit tune soon, he'll probably pen one for someone else. --Jason Verlinde ... Read more

Reviews (3)

This is what country is supposed to sound like
Forget alt-country, and forget the [stuff] coming out of Nashville--this is what country music is supposed to sound like. Great guitar picking, a fantastic voice (at times reminiscent of Cash), and really solid lyrics. It's a pleasant surprise to find a country musician equally adept at songwriting, playing guitar and singing his own songs. This one's all original too, folks. Kelly Willis has already recorded one of Damon's songs, and I have a feeling a lot of other "country" artists will do the same soon; but take my advice and get it from the source. You'll be glad you did.

Very Pure Texas Songwriter.
This CD is pure original country. The songs such as "Tear Him Down" and "Heaven Bound" are gems. My favorite is "Waiting for the Mail". Give this CD a chance and get a real taste of Austin.

Brilliant . . . Genius . . . Dark . . .
Damon is a heck of a songwriter. After hearing all these songs live so many times -- played with his minimalist trio sound, or even solo -- it was a bit odd to hear them with full instrumentation. Odd but not bad. His voice is big. His guitar picking is excellent. His songs are superb. ... Read more

Asin: B00004Y9Y3

Hillbilly Heights
Average Customer Review:
Audio CD (24 August, 1999)
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Editorial Review

This Austin denizen has a country sensibility that has much to do with stalwarts like Lefty Frizzell and Faron Young, and very little relation to Nashville's mall-country mainstream. His supple voice and evocative songs bring a whiff of whiskey, women, and trouble, with fiddle-and-steel accompaniment that's surely traditional without ever sounding self-consciously retro. Songs like "Wishful Drinking" and "Moonlight Never Shines on a Loner" are just the thing for scooting a boot across a Texas beer-joint floor, with clever lyrics and topnotch playing. The only thing that works against this release is production that feels a bit too restrained. All told, this is an impressive debut effort from a young artist who epitomizes the Austin honky-tonk scene. --Jerry Renshaw ... Read more

Reviews (4)

True Country and Western
I have know idea why I bought this disk. I was in a store in Sacramento and put down a Kinky Friedman disk to get this. Thats a huge risk. Something about the cover just grabbed me I guess. This album is true. I hope we see alot more from this guy. He writes some really good songs and covers just the right ones for his players and his voice. There is no poor song on this album. He covers the Kris Kristopherson song " Your time coming" as if it his own. This guy has a sound that will remind you why you like Lefty frizell, I even think about Marty Robbins with this sound he has. I can only say that from 1-13 every song kicks a@@.I hope you enjoy this album as much as I have. Peace and good will Chris Slavesnky

If you like true COUNTRY you'll love this
We heard him in Round Top, Texas this year... great sound. Bought this CD from him, and still can't get enough. Highly recommended!!

Wallace is a throw back
Wow. This guy sounds like he's lived the whiskey trail life. "Moonlight Never Shines on a Loner" is the stellar song. This is a Texas crooner who makes you feel like your in the middle of the dance floor at the Broken Spoke. Big things coming for this fella. ... Read more

Asin: B00000JYAW

Wicked Grin
Average Customer Review:
Audio CD (13 March, 2001)
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Editorial Review

Wicked Grin is wicked indeed, just as sharp and clear and perceptive as you'd expect of an album of Tom Waits songs performed by veteran bluesman John Hammond. That basically sums up what Wicked Grin is all about; only one song on the album, the traditional "I Know I've Been Changed," wasn't written by Waits. This gorgeous recording should appeal to fans of both artists: Waits's songwriting is as incisive as ever, and Hammond explores each song to its fullest potential as he makes it his own. Waits produced the album as well. Between them, the two musicians achieve a kind of synthesis that makes for a damn fine collection. The first few songs kick things off nicely, evoking urban images, specifically of New York City, that stick in the mind like a tune running through your head that won't leave. Then there's "Shore Leave," with a sort of dark harmonic drone behind everything that makes the whole song downright spooky; the bittersweet "Fannin Street," which almost sounds like one of Johnny Cash's sweeter songs; and the Spanish-inflected "Jockey Full of Bourbon," which is capable of raising goose bumps. The format of this collaboration is perhaps a bit unusual--though there's a long history in the blues of artists covering other artists' work, it's usually done after the artist being covered is safely dead and can't object--but it works so well that it makes an excellent argument for continuing the practice, even if it's doubtful that most such pairings could be as successful as this one. This may well be one of the best releases of 2001. --Genevieve Williams ... Read more

Reviews (38)

BLUE LIGHT THROUGH OLD WINDOWS
The vault of Tom Waits' back-catalogue has been smashed open, 13 songs wrenched from it, beaten within an inch of their lives and brought, screaming, into the light.

With the help of a gloriously raw production by Waits himself, John Hammond has spawned the blues album of this, or any other year.

13 tracks of gravel, needles, broken glass, smoke and sweat distilled by the deep velvet growl of Hammond, who has never sounded better, he was born for this.

Can't get the CD off the player. One of those albums that makes you close your eyes, grit your teeth, grimace and crank the amp up one notch louder. Tough to pick out a favourite.....maybe Heartattack & Vine or Clap Hands. Only shame is that it will be filed under 'John Hammond/Blues' which may deprive a larger audience of a true gem.

BUY IT, BEG IT, BORROW IT, STEAL IT....BEFORE IT LEAVES TOWN ON THE 2.19

What A Wicked Grin
That is exactly what this disc did to me when I first heard it. I have not stopped grinning yet. John Hammond has taken songs that most of us thought only Tom Waits could do justice to and made them songs that you cannot get out of your mind. From the first cut "2:19" to my favorite cut "16 Shells from a Thirty-Ought 6," these songs take on the personality of Hammond. With help from some great musicians like Charlie Musselwhite, Augie Myers, and Tom Waits as well as superb production from Waits this is one of the finest recordings of Hammonds in his now 5 decade long career. If you are a fan of Hammonds, this recording will please you. If you are a fan of Waits, you will wonder what took him so long to have Hammond record his songs. If you like the blues, you will have a hard time taking this out of your cd player. If you do not know if you like the blues, this will put a "Wicked Grin" on your face.

Essential postmodern blues--
Since the day this disc came into my life, it's consistently been one of my faves for those "what's it all mean" kinda moods. There is true wisdom in Tom Waits's wordplay, and true power in the thumping, thudding skronk that backs it up. It's heavier than rock and deep as Dylan. I can picture John sitting in a half-lit bar somewhere in the middle of a crowded city on a rainy night, howling these offbeat blues poems to an audience of a dedicated few hipsters. I could only hope I'd be worthy enough to get a seat in there. ... Read more

Asin: B000059T5O

Sad Girl
Average Customer Review:
Audio CD (25 September, 2001)
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Editorial Review

It would be nice not to have to mention that Amy Allison is the daughterof Mose Allison, whooccupies a unique place in American music. The thing about gentleman Mose is, asfar back as the 1950s, he sang riotously funny blues and jazz material with aface so straight that audiences often didn't know whether he was laughing withthem, at them, or at all. Daughter Amy has a similar difficulty, if that's theright word. She seems to be mocking the whiney, self-pitying aspects oftraditional country music by exaggerating them beyond measure, lyrically andvocally, but her sad-eyed Buster Keaton presentation daunts the listener intowondering whether she's being serious, sardonic, or satiric. And the answer is,yes. As the line in the title song states, "It's not just an act, it's a matterof fact." Allison's intelligence is unquestionable. So, too, is her talent. Andif, like a plantation manor ghost in her father's Mississippi, she chooses tohaunt the one lonely room in country music where humor and genuine angstco-reside, so be it. --Henry Cabot Beck ... Read more

Reviews (6)

a dozen kinds of sadness
My brother-in-law is a country music fan, and brought this back from a visit to the USA. The fool tossed the recording aside after playing no more than a minute of the first track (he's such a simple soul!). When I house sat for them earlier this year this was one of the few discs not taken on the boat.
Alone in the house at 2am, I put this on the player and suddenly the wee small hours became a whole lot smaller. The first track (Listless and Lonesome)matched my mood perfectly.
After that I found song after song awash in a dozen kinds of sadness. Amy Allison's emotional twine has a multitude of strands--employing nuances that beggars the power of ordinary English to describe-undoing knots of feeling which are, at once, familar and novel to the listener.
The: beauty of her voice; the wit and poetry fashioning her lyrics--find superb compliment in a skilled team of musicians.
If asked to pick a favourite track, off Sad Girl, I would probably provide a different answer each time. Its an: any time of day; any time of year; any time of life, experience.
By the time my sister and her husband came back home, I had played this dozens of times and appreciated it just as much as that first listening. I hoped my brother-in-law would let me take the CD with me when I left. But something in the way I asked alerted the mean bollock brain to a possible coup on my part. He's playing it all the time now. Fortunately, I was able to buy my own copy through Amazon.com.

Wonderful
I'm not sure how I first heard of her - I think I heard a bit of an interview with her on BBC Radio Scotland's country show (I'm not kidding - it's a great show).

Anyways, she was wonderful, as is this album.

PK

the female jimmie dale gilmore?
beautiful voice doesn't have to mean wimpy delivery. this girl sings like a female jimmie dale gilmore. her songs are as well crafted as the best of elvis costello. and even though I've just compared her to two great musicians, her performance is wholly its own. I would like to give this girl a twelve-pack and ask her to sing along with "Imperial Bedroom". ... Read more

Asin: B00005Q6V1

You Gotta Sin to Get Saved
Average Customer Review:
Audio CD (07 October, 1997)
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Editorial Review

Maria McKee's voice--equal parts Dolly and Aretha--had frequently been great, one song at a time, but it wasn't until You Gotta Sin that this former Lone Justice singer was perfect start to finish. McKee's best batch of songs ever are complimented here by the twisted guitar of Jayhawk Gary Louris, which matches McKee, scream for scream, especially on the closing title track where Maria sends packing the guy she's been chasing all along. She's all over the place--"I'm Gonna Soothe You" is soul, "Only Once" honky-tonk, "I Can't Make It Alone" hard-edged pop--but it all works because McKee has finally reconciled her spirituality with her need for the sensual, over-the-top anthem. --David Cantwell ... Read more

Reviews (14)

Maximum McKee
For those of us who have followed the McKee Odyssey these past seventeen years, Saved remains her high water mark. Taken in comparison to her other two solo efforts, Saved finds her at her peak as a lyricist and musician. Lacking the Springsteen induced Jimmy Iovine production of her first solo effort, Maria,(thankfully) stays away from the rambling street portraits that bogged down solo album number one. Saved presents a number of different styles and genres including the two Van Morrison covers, Girlhood Among The Outlaws and her heartbreaking rendition of Wastin Time with the Jayhawks.Most interesting, though, are two themes which run, (and in her most recent solo effort,Life Is Sweet, overun) through all of her songwriting dating back to Lone Justice: the abandonment she felt from her father leaving her in her childhood, whih manifests itself in her inability to feel love or to truly release herself to another, and the dichtomy of a passionate belief in Christianity weighed against the life of a sinner. The greatest strength of this album is the constant battle she wages within herself to reconcile these riddles.We are all sinners, and yea, but for God's mercy, Maria saves us.

Maria's hidden gem
This is most definitely a classic album from Maria. In fact, it's her best. I am sorry that it hasn't received more recognition from the new country community, but that's how the cards fall sometimes. Everything from the sweet memphis sound of "I'm gonna soothe you" to the bittersweet "Only Once", is a showcase for the endless talents of Ms. Mckee. Like most of the alt-country she was bred on the punk sound of the eightees and traditional folk music that was ignored at the time. Her only misfortune was bad timing. The decade of Van Halen and Poison would have had a difficult time appreciate a work of art in this vein. If you like Chrissie Hynde and/or Janis Joplin, this album is perfect for you.

A CD worth saving
Maria McKee was on fire in the mid-80's, first with Lone Justice and then out on her own. Her commercial success wasn't as huge as her talent, but on the bright side maybe that's why we can buy a CD like this for 7 bucks. While I prefer her earlier material, and she seems to be slowing down a bit in this 1993 release, it is a fine recording.

She experiments with some new sounds here, if a decade-old recording that heavily references influences from two decades earlier can be spoken of as in any way "new". We suddenly have Maria with horns and songs in several genres that fit broadly under a blue-eyed soul umbrella. These include the opening disco-like track, two Van Morrison covers (and a couple of songs that mimic his style), and material that sounds more like Muscle Shoals. There is also some country music and some simple ballads. I'm not sure her voice is best-suited to the material here - I preferred her as a more enthusiastic rocker - but her performances are top-notch.

Some of the instrumentation can sound dated, unlike her earlier recordings (distorted electric guitar solos that are lovely but from another time, or disco influences), but there's some great songwriting here. Mostly, this is a pleasant recording that lets me enjoy one of my favorite voices doing music that isn't quite my favorite. I've always liked the homier version of "I Can't Make It Alone" by the Continental Drifters, and McKee does a nice cover here, but her (amazing) voice nearly overpowers the material. There are some truly outstanding moments, though. "Only Once" sounds like a young Emmylou Harris covering an old country song, but with a stronger voice than Emmylou ever had, and I was shocked that Maria wrote this one herself - it sounded like genuine country. I can see why some reviews felt she was genre-shopping on this CD, but she does this genre in a way that would make Gram Parsons proud. "My Girlhood Among the Outlaws" is a wonderfully mature song also penned by McKee, and "Why Wasn't I More Grateful (When Life Was Sweet)" is another high point, one of those Van Morrison-inspired songs at least in style. I presume the later (out-of-print) "Life Is Sweet" is an allusion to this song. The rollicking title track is a sing-along novelty that sounded silly at first, but has grown on me. It sounds like it would have been a crowd-pleaser in concert.

Overall, this is a more subdued Maria McKee than in her earlier work, and I preferred her with a plain old guitars-bass-drums rock band, or with the folksier sound of her first solo CD, instead of with the brass and somewhat softer vocals here. But her voice is still at its peak, the songs are well-written, and while it may be a bit dated, it's a bargain and it's one of a half dozen chances to hear this great voice on an original CD. ... Read more

Asin: B000000P0N

The Hardest Part
Average Customer Review:
Audio CD (26 September, 2000)
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Editorial Review

Allison Moorer's talent is so obvious, the strength of her conviction so apparent, that you wind up doubting if she's really as good as she sounds. Strangely enough, Moorer's older sister Shelby Lynne moved away from Nashville and emerged with one of the surprise hits of 2000, the Southern soul-drenched I Am Shelby Lynne. Moorer, on the other hand, stayed in Nashville, took control of the artistic reins, and emerged with a sophomore effort on a major country label that is in many ways similar to and nearly as varied as her sister's breakthrough. "It's Time I Tried," for one, is deep Muscle Shoals soul while "Think It Over" could be a Pretenders song. The buried finale is a haunting Southern gothic ballad. Mix in a few bluegrass inflections here, some countrypolitan there, and infuse it all with classic honky-tonk misery, and it's clear that Moorer will not be tied down to any genre designation, Nashville or not. Her sumptuous voice not only packs a punch, but it can also bob and weave to great effect as she sings about love's many entanglements. Consider that she not only coproduced the album but also cowrote each tune, and any doubts about her talents begin to vanish. --Marc Greilsamer ... Read more

Reviews (48)

A somewhat mixed bag -- but well worth it
Allison Moorer's sophomore release is a finely competent, eclectic, and ultimately satisfying mix of her uniquely real and intimate voice with a variety of production arrangement styles. Which ones you like the best are, as always, a matter of taste.

For my taste, I love Allison's incredible voice, which is so real, so personal, so informed with palpable emotion, that anything competing with it renders the performance much less compelling than it could be. Three cuts on the album, in fact, got the full-on Nashville production treatment, complete with the Nashville String Machine to provide a withering fusillade of syrupy sound, practically drowning Allison out on several occasions. A fourth cut settled for a simple string quartet -- better, but still a completely unnecessary overkill.

What's necessary, then? In my opinion, it's guitars, bass, percussion, pedal steel, fiddle, and great backing vocal harmony. Period. Allison started out on Alabama Song striking a clear path back to the classical roots of country music, and though this great sound is still apparent on many of the tracks on this album, a few are venturing dangerously close to the abyss of glitzy, overproduced "pop" country. I'd hate to see her go this way, though I suppose she would sell more records.

Having said that, this album is on the whole a collection of good songs well performed by one of the most talented new stars on the country music horizon. I can pretty confidently recommend it to anyone who liked her first album, as well as to those who haven't yet had the pleasure of discovering her.

My favorite tracks on The Hardest Part: the title track (1); Bring Me All Your Lovin' (6); Is It Worth It (7); Feeling That Feeling Again (10); and the unlisted, untitled bonus track about the death of her parents, a tragic ballad in the classic southern Appalachian style.

Let's also hope her label sends her out on tour one of these days. I'd sure love to see her live!

Country singer similar to early Emmy Lou.
Allison Moorer is Shelby Lynne's younger sister. If you were a fan of early Emmylou Harris (think 70's), then you will love Allison Moorer. This is country music. Country music that is pure. Music that makes your toe tap. Moorer's voice matches the fiddle and the steel like a well fitting glove. The production is first rate with every lick a compliment to Allison's vocals. Every song is a winner and Moorer wrote or co-wrote them all. Sometimes a CD, no matter the genre just works. The Hardest Part is one of those. This is a delight.

Excellent, haunting...
One of the best albums I've ever heard. Why she's not as huge as, say, Toby Keith (ugh!) epitomizes everything that is wrong with the music industry. A voice to die for...a sort of concept album that follows a relationship of a couple to it's demise, which other reviewers have noted may have been inspired by the split between her own parents. Regardless, country/pop crossover at it's best. ... Read more

Asin: B00004U65X

Strangers Almanac
Average Customer Review:
Audio CD (29 July, 1997)
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Editorial Review

Strangers Almanac first grabs you because it sounds so great. It's filled with dynamic performances that smolder moodily, then flare quickly into firestorms of twangy and soulful guitar rock that fuse Uncle Tupelo with the Stones, the Replacements, with Gram Parsons. But what makes this album essential are the songs of frontman Ryan Adams. Take "Houses On The Hill," about a man merely going through a box of old letters: in just two verses, and to a melody that's the definition of bittersweet, Adams relates a drama more rich in detail than most novels. One of '97's best albums. --David Cantwell ... Read more

Reviews (54)

continuing gram parsons' vision
if gram parsons had recorded an album in 1997, it might have turned out quite similar to whiskeytown's "strangers almanac." aside from the decidedly 90s-style studio tricks that are sprinkled throughout the record's thirteen tracks, the countrified singer/songwriter style is what shines through. yes ryan adams tends to get a lot of hype, but most of it is well deserved. charisma, strong lyrics, and a natural understanding of the intangibles that make great music will do that. whiskeytown may upset the country purists because of the distinctive rock influences, namely on "16 days" and "yesterday's news", but it's just a continuation of parsons' blurring of musical boundaries. "inn town" is a beautiful opener - subtle and emotional, and it's followed by the aching "excuse me while i break my own heart tonight" which seems too short but is arguably the strongest track here. the quieter moments are the album's gems, with "everything i do", "avenues", and "dancing with women at the bar" standing out, though "waiting to derail", a uncharacteristic yet effective rocker that has an emo-punk edge to it is strong as well. alcohol is a major theme throughout the album, and though it's easy to find fault in adams' characters (himself included of course) for their drunken finger-pointing, he manages to come off as sincere and regretful, if only for a second, and that makes him endearingly human. many music critics point to wilco's "being there" as the definitive 90s "alt-country-rock" record, and while that record is easily as strong as "strangers almanac", it's clear that wilco was steering away from its country roots, whereas whiskeytown unabashedly embraces them here. credit adams and caitlin cary for that. a must for any modern country-rock fan.

4.5 Stars... Whiskeytown's Best Album
It's hard to believe that Ryan Adams ("David Ryan Adams", according to the liner notes) was only 22 when this album was recorded, the second of Whiskeytown's short career. While debut album "Faithless Street" found the band (and main writer Ryan) still looking for solid footing, the band hits all cylinders here. Ryan wrote most songs by himself, with Caitlin Cary or Phil Wandscher pitching in on the other tracks.

"Strangers Almanac" (13 tracks, 51 min.) is true to Whiskeytown's country/alt-country roots, with a tip o' the old hat to Uncle Topelo, among others. Highlights include "Excuse While I Break My Own Heart", with Caitlin Cary's violin upfront in the mix, "16 Days" (a minor hit on country radio, actually), "Houses on the Hill", the electric "Waiting to Derail", and the closer "Not Home Anymore", which sounds more "pop" than country or rock.

While I find the production at times lacking, there is no doubt that musically, this album is the best album of Whiskeytown, and as such it is highly recommended for any Ryan Adams or Caitlin Cary fan, or for that matter for anyone into alt-country.

very good
Way too much has been made about Ryan Adams' career after Whiskeytown. Did he sell out? Does he have a shred of artistic credibility left? To be honest, I don't care. Just listen to the songs and let them stand on their own merit. Strangers Almanac is a great album from start to finish. This is a great place to start with Adams' career. However, many people believe it also is the place to stop as well. ... Read more

Asin: B000002RBZ

Covenant
Average Customer Review:
Audio CD (08 August, 2000)
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Editorial Review

You'd be a hardened, dense soul if you didn't fall immediately for Greg Brown's "'Cept You and Me Babe," the opening track to Covenant, the latest in an astounding string of gems mixing blues, country, and folk with Brown's understated wit and tangy insights. "Half the people you see these days are talking on cell phones / Driving off the road and bumping into doors," he sings sardonically. "I guess nobody's lonely anymore / 'cept you and me babe." One of many such poignantly twisted lines, Brown and a pared-down, mostly acoustic band deliver a captivating set of new songs (including a delightful bonus "buried" track called "Marriage Chant"). His first record in three years is rich with deftly conveyed emotion, craft, and an elegant funkiness as raw and mature as Brown's own deep pipes. Produced by guitarist Bo Ramsey, Brown's new work bites and snarls, caresses and cackles under Ramsey's understated musical settings. --Martin Keller ... Read more

Reviews (21)

Not disappointed!
Contrary to the views of some other reviewers...I'm rating this one at about 41/2 - 5 stars. I've played it repeatedly since buying it last week and have not tired of the lyrics or the music. It does lack some of the wry humour of past songs but I don't see that as a reason to down-grade this cd - maybe Greg just wasn't in a humourous mood. A lot of great songs in a variety of musical styles.....I love them all but particularly the Memphis blues/soul (hints of the MG's?) of "blues go walking" and "real good friend"; the beautiful acoutic "lullaby"; "marriage chant"; "you and me babe"......all of them really except "blue car". Bo Ramsey, as usual, is fantastic on electric guitar. I had the pleasure of seeing Bo play live with Kevin Gordon at a small venue here in ChCh, NZ about 7 years ago.....it remains the very best live performance of all that I've ever seen in 30 years of live music attendences. Another great album, along with "Dream Cafe" & "Further In" to make love to - something I found not possible with "Poet Game" and "Slant 6 Mind" I would not hesitate to recommend this album to anyone who loves fabulous, intelligent music.

Greg Brown Does the Blues
In a passionate, blues-inflected series of songs, Greg Brown explores the boundaries of folk music, tracing the areas where folk moves to blues. His usual baritone is low, sometimes guttural, and the music and the lyrics fit together in ways that most folk artists can only dream about. Some songs are explicity blues - "Blues Go Walking" and others hover closer to that boundary.

In the opening track, for example, "Cept You and Me Babe," he inverts the meaning of the title line, turning it into a message of separation and loss. Earlier Amazon reviewers criticized the the lines "Half the people you see these days are talking on cell phones/driving of the roads and bumping into doors/people used to spend quite a bit of time alone/I guess nobodys lonely any more/'cept you and me babe." As far as poetry goes, you know, that's not half bad, but combined with the music and the inverted meaning, you'll find you can't get the song out of your head.

Other fine songs include "Rexroth's Daughter," "Blues Go Walking," "Dream City" and "Blue Car." Overall this is a darker-toned album, perhaps reflecting Brown's life at the time, but it is melodic, moving and memorable. It's great to see Brown experimenting with music forms, and not trapped in a formula.

One tip: wait a full minute past the end of the last documented track. There's a surprise lurking there.

Brown is one of half a dozen genuine folksingers in America, still untainted by the music machine, still energetic and inventive. This is a fine album, and a fine addition to Brown's extensive discography. Highly recommended.

Another direction for Greg
This disc was released at the same time as his cd "Over & Under, (which is great,) and Greg took a turn in musical direction for this one. What you get here is blues with a folk edge. The lyrics are good; as they always are, but if your a fan of traditional folk Greg Brown, you might be dissapointed, I know I was. This is a good cd if you like Delta blues with rough, laid back vocals. To each his own. ... Read more

Asin: B00004VWX1

Hundred Lies
Average Customer Review:
Audio CD (21 September, 1999)
list price: $13.98 -- our price: $13.98
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Reviews (12)

A Rare Gem
Malcolm Holcombe's album "A Hundred Lies" is one of the most memorable recordings I've ever heard.His unique songs have a way of evading classification,but two fellow singer/songwriters I keep coming up with are Charley Patton & David Olney.He definitely has Olney's flair for creating a poetic/aural landscape in his lyrics.As for his actual muscianship,his unique phrasing,I really can't think of anyone that's struck me so since I first heard Charley Patton.And above & beyond even all this,is his very old,knowing soul that just can't help seeping out of his guitar & his voice.Closest comparison I can come up with would be Townes Van Zandt. Do yourselves a favor & purchase this album.I can't even imagine someone not being entirely satisfied with it.Thank God for Malcolm Holcombe!

A real gift
I love this album, and I recommend it to anyone who likes heartfelt, soulful country/blues style music. Malcolm Holcombe has a rare gift, and for the five weeks since I got this CD, respect has kept me from taking it out of the stereo for long. It's been passed around some, and sorely missed while it was gone. I did not write the review below, (which is under my name, somehow) but I agree that Malcolm is a generous soul with a wide open heart. His music is passionate, and brings out something words can't touch -- and I couldn't adequately review this record if I tried, since I am by no means impartial. I like it too deeply. "Far Cry From Here" and "Only for You" are beautiful and painful... "Homeland" and "Back on the Edge of Town" have more muscle and behind them, making your foot a little heavier on the gas pedal. I'm still trying to figure out the harmony to "Dressed in White" -- I hope you like this album as much as I do. I wish there were more of Mr. Holcombe's records available... I'm wearing out what I have.

Poet with a Guitar
A poet of the new age, his lyrics are original as well as his unique style. Most of all he ha something to tell and he does it so beautifully. His music just brings to mind something you can just relate with him about. ... Read more

Asin: B00001QGL7
Sales Rank: 40912