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| 181. Essential Mary Chapin Carpenter | |
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(04 November, 2003)
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Features Reviews (5)
Read more Subjects: 1. Contemporary Country
2. Country
3. Country & Western
4. Country-Folk
5. Pop
6. Singer/Songwriter | |
| 182. The Legends of Country Music | |
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(29 August, 2006)
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Editorial Review Though Bob Wills has long been heralded as a country-music icon (an inspiration for artists from Merle Haggard and Willie Nelson through Lyle Lovett and Asleep at the Wheel, and toasted by Waylon Jennings in "Bob Wills Is Still the King"), the Texas fiddler considered himself more of a jazz bandleader. The Texas Playboys' signature dance-floor style of Western swing encompassed blues, jazz, country, and pop standards, with a sophistication at odds with the era's image of "hillbilly music." This four-disc centennial anthology (a little late, as Wills was born in 1905 and died in 1975) documents the musical progression of the band and its music from regional phenomenon to national treasure. The 105 tracks (remastered, but all previously released) showcase the legendary "twin guitars" of Leon McAuliffe and Eldon Shamblin, the smooth crooning of Tommy Duncan, the irrepressible spirit of Wills himself, and a songbook of classics such as "New San Antonio Rose" (with lyrics added to the original instrumental), "Take Me Back to Tulsa," and "Faded Love." In jukeboxes and roadhouses throughout the Southwest, it is Bob Wills, not Benny Goodman, who remains the "King of Swing." Read more Features Reviews (2)
Subjects: 1. Box Sets (Audio Only)
2. Country
3. Country Traditional
4. Pop
5. Traditional Country
6. Western Swing | |
| 183. Reckless Kelly Was Here by Sugarhill [Country] | |
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(08 August, 2006)
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Editorial Review As is true with so many roots-rocking bands based in Austin, Texas, a sweaty club brings out the rambunctious best in Reckless Kelly, giving them a chance to stretch out and let loose on their first live recording. From the pulverizing opener of "Sixgun," which owes as much to AC/DC as the roadhouse, through the new party anthem, "Wiggles & Ritalin," and the reflective, acoustic "Wicked Twisted Road," the band feeds on the call-and-response energy of the hometown crowd and pays it back. The set offers tribute to Lone Star natives Alejandro Escovedo ("Castanets") and the Texas Tornados ("Guacamole"), as well as farther-flung inspirations such as Richard Thompson ("1952 Vincent Black Lightning") and the Beatles (a bluesy "Revolution"). "Baby's Gone Blues" begins as a riff-rocking piledriver and ends as a fiddle-driven breakdown, an encapsulation of the musical progression embodied within the band. On twangier fare such as "Nobody's Girl," frontman Willy Braun could pass as a vocal ringer for Steve Earle. Read more Features Reviews (3)
Subjects: 1. Alternative Country
2. Alternative Country-Rock
3. Americana
4. Country
5. Country-Rock
6. Pop
7. Rock & Roll | |
| 184. Furnace Room Lullaby by Bloodshot Records | |
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(22 February, 2000)
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Editorial Review Laying waste to all the wink-wink irony, dubious material, and vocal mediocrity that frequently mires alt-country fringe dwellers, the second outing from this Virginia-born belter marries tough, twangy rock with wild, unguarded emotion. Neko's principal charm may be her voice--sometimes coming on with Dusty Springfield's indigo-eyed soul (the dreamlike "Porchlight"), Patsy Cline's aching slow burn (the slinky "No Need to Cry"), and Wanda Jackson's imperious sexuality (the rockabilly "Mood to Burn Bridges")--but her songwriting (she cowrote every tune) is surprisingly consistent and memorable. She celebrates the "passion for life" found in her abandoned home of Tacoma, Washington, or a strapped-on Telecaster, and on her best song, "Guided by Wire," she balances between "darkest recollection" and the freedom of music, the kind that matters most, all those voices "singing my life back to me." Read more Reviews (61)
Subjects: 1. Adult Alternative Pop/Rock
2. Alternative Country-Rock
3. Americana
4. Contemporary Singer/Songwriter
5. Country
6. Indie Rock
7. Pop
8. Popular Music
9. Rock
10. United States of America | |
| 185. 16 Biggest Hits | |
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(14 July, 1998)
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Editorial Review A greatest-hits package from an artist who thrived on conceptalbums is a frightening proposition. Even the liner notes refer to himas the "all-time #1 country album artist." To top it off, much ofNelson's best work--Read more Reviews (10)
Subjects: 1. Country
2. Country & Western
3. Country-Pop
4. Outlaw Country
5. Pop
6. Progressive Country
7. Traditional Country | |
| 186. Laps in Seven by Sugarhill [Country] | |
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(13 June, 2006)
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Editorial Review As one of the founding fathers of the bluegrass/jazz hybrid dominating the new acoustic scene, Sam Bush has always kept a close eye on songcraft and tradition, even as he looks toward expanding the expressive and commercial potential of traditional styles. If his previous album, Read more Reviews (7)
Subjects: 1. Bluegrass
2. Contemporary Bluegrass
3. Country
4. Country-Folk
5. Pop
6. Progressive Bluegrass
7. United States of America | |
| 187. America, Why I Love Her by Mpi Home Video | |
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(27 November, 2001)
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Editorial Review This sentimentally over-the-top spoken-word recording was originally issued in 1973, during the height of Watergate and the final, unsettling days of the Vietnam War. In the wake of September 11, 2001, the John Wayne Estate reissued it on CD. And why not? Marion Morrison, a.k.a. John Wayne and the Duke, remains an enduring symbol of America--a country with an endlessly conflicted legacy of largely improvised symbolism, national myths, revised-on-a-dime history, and the freedom to make a buck on effusive patriotic rhetoric. Kitsch collectors may welcome the chance to own a true genre staple in digital sound, while others may yet find genuine solace in its orchestra-and-choir-backed oratory. With a poetic sensibility that seldom strays from the "Carolina pines/Appalachian mines" level of its opening verses, Wayne's processed voice (which betrays the health problems that would be his demise) expounds on topics that range from his homeland's undeniable natural beauty to his son's high school football career and the wisdom of a fictionalized aging Mexican caballero. The would-be idealism in "The Hyphen" aims to erase ethnic and racial boundaries, yet modern hyphenated Americans may find continued prejudice and the vagaries of history have rendered its rhetoric distinctly double-edged. Still, Wayne's love of country emanates from every track. Patriotism may be the last refuge of scoundrels, but it's been graciously hospitable to Hollywood icons, from the Duke to Dutch Reagan. Read more Reviews (53)
Subjects: 1. Pop
2. Spoken
3. Spoken / Comedy / Radio Shows
4. Spoken Word | |
| 188. Marty Robbins - All-Time Greatest Hits | |
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(04 February, 1992)
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Editorial Review Marty Robbins has more greatest-hits compilations than most artists have hits. This 20-cut single-disc collection is one of the better values, with a representative selection that extends from gunfighter balladry such as "El Paso" (his 1959 chart-topper and biggest crossover success) and "Big Iron" to the calypso-tinged "Devil Woman" to his cover of Gordon Lightfoot's folkish "Ribbon of Darkness." Throughout his 30-year recording career, Robbins combined a tremulous tenor with canny commercial instincts, stretching the boundaries of country music while expanding his popular base. He was equally at home with a cowboy song ("Red River Valley"), a gospel tune ("You Gave Me a Mountain"), and a slice of Hawaiian exotica ("Aloha Oe"). Inexplicably, the album features the schmaltzy "Love Is Blue" at the expense of "A White Sport Coat (And a Pink Carnation)," a '50s pop smash that remained one of his biggest hits. Read more Reviews (5)
Subjects: 1. Country
2. Country & Western
3. Country-Pop
4. Cowboy
5. Hawaii
6. Nashville Sound/Countrypolitan
7. Pop
8. Rockabilly
9. Traditional Country
10. United States of America | |
| 189. C.W. McCall - Greatest Hits by Mercury Nashville | |
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(21 September, 1993)
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Editorial Review The linkage between consumerism and popular music finds a strange analogue in William Fries, a.k.a. C.W. McCall. Trained in graphic design and advertising, Fries invented his trucker persona while working on a bakery ad campaign and helped drive the trucker craze of the '70s with a slew of novelty tunes, few of which have aged very well. McCall described his delivery as a "walkin', talkin' singin' style," though emphasis always falls on his deadpan spoken wit. McCall never took himself seriously, and tunes like "Crispy Critters" and "'Round the World with the Rubber Duck" will inspire a laugh at just how weird the '70s could be. Read more Reviews (28)
Subjects: 1. Bakersfield Sound
2. Country
3. Country & Western
4. Country-Pop
5. Pop
6. Truck Driving Country
7. Urban Cowboy | |
| 190. World Without Tears by Lost Highway | |
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(08 April, 2003)
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Editorial Review Most artists who appeal to adult listeners tend to settle into a comfortable niche, but Lucinda Williams refuses to play it safe. Instead, her music stings like an open wound, as she continues to strip away the protective layers from her art's emotional core. Though Williams has long been prized for the naked honesty of her music, this collection is even rawer than its predecessors. From the down-and-dirty bar-band blues of "Atonement" to the Rolling Stones-style swagger of "Bleeding Fingers" to the tricky balance of debasement and transcendence in "Ventura," Williams leaves the nerve endings of her music exposed. With the band opting for first-take immediacy rather than polish, some of the most powerful material is also the neediest, as the singer addresses lovers who have disrespected her ("Righteously") or abandoned her ("Those Three Days," "Minneapolis"). Though her attempts at rap on "Sweet Side" and "American Dream" might cause diehard fans to wince, her willingness to take creative chances reaffirms her position at the vanguard of a rootsy progressivism that transcends musical category. Simply put, there's more Patti Smith in her than there is Patsy Cline. Read more Reviews (136)
Subjects: 1. Adult Alternative Pop/Rock
2. Alternative Country-Rock
3. Americana
4. Folk-Pop
5. Folk-Rock
6. Pop
7. Rock
8. Rock/Pop
9. Roots Rock
10. Singer/Songwriter
11. Urban Folk | |
| 191. The Acoustic Collection: 1999-2002 by Sugarhill [Country] | |
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(10 October, 2006)
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Editorial Review Like other country mainstays (Johnny Cash, Merle Haggard, Emmylou Harris, et al.), Dolly Parton found creative emancipation in freedom from the commercial airwaves, once the younger generation of artists began dominating country radio.The crossover slickness and calculation of some of her later country hits is nowhere in evidence on this trio of albums that marked her belated return to acoustic bluegrass and mountain music. 1999's Grammy-winning Read more Features Reviews (1)
Subjects: 1. Box Sets (Audio Only)
2. Country
3. Country-Folk
4. Pop
5. Traditional Country
6. United States of America | |
| 192. Ultimate Collection by Hip-O Records | |
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(28 August, 2001)
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Reviews (10)
Subjects: 1. Country
2. Country & Western
3. Outlaw Country
4. Pop
5. Progressive Country
6. Singer/Songwriter
7. United States of America | |
| 193. In Spite Of Ourselves by Oh Boy | |
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(14 September, 1999)
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Editorial Review You've got to hand it to John Prine. On the first song on this collection of duets, he plunges valiantly into "(We're Not) The Jet Set," singing the part made famous by George Jones, the Caruso of country music. And Prine, never blessed with the most pliant pipes, promptly pancakes a note flatter than Kansas. Aw, heck! The songwriter's songwriter takes a curious turn with his first studio album since 1995's Read more Reviews (78)
Subjects: 1. Contemporary Folk
2. Pop
3. Rock
4. Rock/Pop
5. Singer/Songwriter | |
| 194. Hag: The Best of Merle Haggard by Capitol | |
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(12 September, 2006)
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Features Reviews (2)
Subjects: 1. Bakersfield Sound
2. Country
3. Honky Tonk
4. Pop | |
| 195. Men & Mascara by Mercury Nashville | |
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(27 June, 2006)
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Editorial Review There's no sophomore slump here for Julie Roberts, whose second release is, if anything, richer and more powerful than her well-received debut. Credit the uniformly strong material, with not a throwaway among the eleven tracks, and four of the songs cowritten by Roberts. There's not a happy song among them, either, except for the nostalgic "Too Damn Young," about when love was fresh in a teenage way that it will never be again on the rest of the older-and-wiser material. The opening "Paint and Pillows" tells of a wife wronged by a cheating husband, and a hurt that can't be masked by window dressing. "First to Never Know" and "Lonely Alone" find a woman on the run from a relationship gone cold, while "A Bridge That's Burning" sings of the refusal to become the other woman. Best of all is the title track, through which the bittersweet voice of experience warns that "men and mascara always run." Though Roberts has the glamour-girl look of a Faith Hill, the Southern bluesiness of her vocal phrasing is closer to Lucinda Williams, and the fiddle and steel guitar that dominate Byron Gallimore's production show country music making few concessions to pop. Read more Reviews (38)
Subjects: 1. Adult Alternative Pop/Rock
2. Contemporary Country
3. Country
4. Pop
5. United States of America | |
| 196. Shock'n Y'all by Dreamworks | |
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(04 November, 2003)
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Editorial Review A former oil field worker, Toby Keith has always known how to capture the passions of blue-collar men and women, desperate to blow off steam at the end of the day. As such, hes stocked his latest album with themes designed to push all the right emotional buttons--patriotism, Jesus, buddy love, fast women, and reality altering substances. "I Love This Bar," the first single, offers a kinder, gentler Keith than the boot-shoving redneck of "Courtesy of the Red, White, and Blue (The Angry American)." But as he segues to "American Soldier," a song so gung-ho and puffed up that it could be a musical recruitment poster, you know hes gearing up for a scud missile of a payoff. Sure enough. By the time he gets to "The Taliban Song," a comedic and cartoonish skewering of The Enemy, recorded in concert, its hard to remember that he once wrote well-crafted ballads of romantic infatuation. Now its all grandstanding, baby, even the best-written song, a jazzy, talking blues which fillets his critics. If hes not exactly "Shockn YAll" as the title suggests, hes certainly putting his "Baddest Boots" forward. Read more Features Reviews (285)
Subjects: 1. Contemporary Country
2. Country
3. Country & Western
4. Honky Tonk
5. Neo-Traditionalist Country
6. New Traditionalist
7. Pop | |
| 197. I Hope You Dance by Mca Nashville | |
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(23 May, 2000)
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Editorial Review Lee Ann Womack may well have the most hard-country female voice in Nashville; while her first two albums showed much promise, they didn't boost her past the middle of the pack. So what's the Nashville solution? Instead of playing to her strengths, make her soprano sound smaller and more compact (think Dolly, not Tammy), de-twang it so she sounds more creamy and dreamy. In other words, try to make her sound more like everyone else. Most of these songs are slow or midtempo, building ever so predictably, and with arrangements paying little more than lip service to roots. Womack sounds better with less accompaniment ("I Know Why the River Runs," "Thinkin' with My Heart Again") and best when her drawl prevails ("Does My Ring Burn Your Finger"). And she sounds unbeatable when she's totally involved, as on the best song, "I Feel Like I'm Forgetting Something." And who cowrote that? Why, Lee Ann did. It's the only such song here, but somebody should take a hint. Read more Features Reviews (107)
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