Joel and Ethan Coen have long established themselves as film stylists without peer: from Blood Simple to Fargo, their movies have never been less than fascinating, and there has never been any question that their films could not have been made by anyone else. In T-Bone Burnett, the producer of the soundtrack for O Brother, Where Art Thou?, they have finally met their match: Burnett's work in assembling a collection of pieces for the Depression-set film is as skilled and entrancing as the film itself.

Despite the presence of Emmylou Harris, Gillian Welch, Alison Krauss and bluegrass legend Ralph Stanley, the stars here are the songs themselves, a host of traditional songs augmented by archival recordings. The collection is also a showcase for a host of lesser known and forgotten bluegrass masters: The Cox Family, collaborators with Krauss; Norman Blake, a sideman for Bob Dylan and June Carter Cash; country gospel group The Whites, who once counted Ricky Skaggs as a member (and who, here, cover the Carter Family); and young bluesman Chris Thomas King among them. All bring life to their songs, and the results are sublime--and, at times (Krauss and a choir's take on "Down To The River to Pray", Blake's instrumental version of the oft-repeated "I Am A Man of Constant Sorrow"), downright entrancing.

Some of these songs can be found on Alan Lomax collections. If you enjoy this album, we also highly recommend the Harry Smith Anthology of American Folk Music and Woody Guthrie's Asch Recordings series. --Randy Silver

Stunning, evocative music., 14 Apr 2008
I'm not from the US, my family hail from Kashmir and I was born in the UK, grew up listening to punk rock but WOW! The soundtrack literally drips with the era and place it hails from; every time I hear a snippet I swear I can feel the heat and smell the wheat - so amazing!

Diverse selection of old-time music, 01 Jul 2005
The music here, like the film it provides the soundtrack for, is presumably intended to take us back to the thirties. Several songs from that era are featured along with traditional material that would have been popular then. Recorded mainly with state-of-the-art technology (except for some old recordings that are included and re-mastered), the sound quality is far superior to anything available in the thirties. Several different types of music can be found here - blues, gospel, country and folk - mainly performed by contemporary artists with a deep respect for tradition. I'll just pick out some of them although there are many excellent songs here.

Even Alison Krauss sticks firmly with tradition here - she often brings contemporary influences into her music these days but not here. Alison can be heard here on Down to the river to pray (as a solo singer), I'll fly away (providing harmony vocals for lead singer Gillian Welch) and Didn't leave nobody but the baby (joining Gillian and Emmylou in three-part harmony).

The inclusion of two Carter Stanley songs on a soundtrack such as this is predictable but welcome, with the Whites performing a superb version of the oft-recorded Keep on the sunny side, while the Peasall children (Hannah singing lead with Sarah and Leah providing harmony vocals) are in great form on In the highways. Children's recordings rarely impress me but this track does.

One song here that surprised me (though perhaps it shouldn't have) is Big rock candy mountain. It can be found on plenty of albums of children's songs, when it is invariably presented as an up-tempo song that children can (if they wish) sing along to. Here we get the original 1928 recording by Harry McLintock, who sings it at a more measured, reflective pace, showing that there is more to this song than I originally thought. I still prefer it as an up-tempo song generally but I'm glad I heard this version. I wonder what the Peasall sisters would have done with this song.

The Coen brothers clearly hoped that this soundtrack would provide a resurgence of interest in traditional music. While this soundtrack was a big commercial success, it seems that the majority of people who bought it (and continue to buy it) regard it as something of a novelty. Nashville record labels signed some traditional singers (Elizabeth Cook, though not featured here, is one that comes to mind) but they didn't get enough airplay on American country radio, so such artists were dropped and Nashville returned to its contemporary format. I'm sure that this soundtrack helped to win some new fans for traditional music, but not as many as the Coen brothers would like.

a lovely mix of traditional music, 04 Nov 2003
Performed by some of today's best singers, this multi-Grammy Award winner is a marvelous addition to any country/folk music collection. Some of these artists are at the top of their field, but some will be "discoveries" for most of us, like the beautiful rendition of "Hard Time Killing Floor Blues" by Chris Thomas King, a versatile young man who is versed in many styles, and here sings in the old blues tradition and does it brilliantly.

The highlights for me are: The legendary Ralph Stanley, with his plaintive acappella chant of "O Death", which carries with it all the pain and soul of Appalachia, and the purity of "I Am a Man of Constant Sorrow" by the Soggy Bottom Boys, who consist of Union Station member Dan Tyminsky on lead vocals and guitar, backed by Harley Allen and Pat Enright. For anyone who likes traditional music, you can't get any better than this.
Another acappella gem is "Didn't Leave Nobody but the Baby", with Emmylou Harris, Alison Krauss, and Gillian Welch harmonizing like an angels from another era. Everything on this disc recalls days gone by; there is a refreshing simplicity, and a lot of the songs are filled with faith.

There is exquisite musicianship on this CD, and it is a nice long one at 60'34 minutes. The booklet insert is something I appreciate too; it is a collage of yellowed stained paper on peeling walls, with a terrific layout, and as it says on one of its pages, "Old-Time Music Is Very Much Alive".

oh brother where art thou, 13 Jul 2002
first class traditional country and a bit of bluegrass. represents excelent value for money. so many good tracks its hard to pick one that shines above the rest.listen to YOU ARE MY SUNSHINE by norman blake if you are not tapping your toes then someone has nailed your feet to the floor.then there's I'm a man of constant sorrow-Soggy bottom boys Wow!then for a real treat try The Stanley Bros. Angel Band Traditional country at its best. many other great tracks from Alison Krauss the queen of country and the Whites with keep on the sunny side,backings are fantastic. This is one CD you won't be dissapointed with

GREAT ALBUM . . . BUT TRY BEFORE YOU BUY, 06 Jun 2002
Let me make one thing clear. "O Brother..." is one of my favourite films of all time. Not only that, but the musical soundtrack is one of its strongest features and stands as a valuable cultural document in its own right. In short, this is an album that anyone who loves country, bluegrass or folk music is likely to want in their collection.

So why, as I write, am I tossing up whether to only give it four stars? The answer is that I'm attempting to review it, not as a collector's item or a socio-historical document but as an album of music for repeated listening in the comfort of your own home. For that reason I'm not going to review the film rather than the album, as some reviewers here have done, because I don't assume that every listener is going to have the movie playing back in their heads as they listen to the music.

Rather, my comments are based on how this album will sound to someone who has picked up on the hearsay, or watched the Grammy ceremony, and is tempted to go out and buy this as a musical compilation. And in that setting, many listeners are going to be disappointed. The fact that a song has integrity, emotion, historical importance or great musicianship doesn't automatically make it great entertainment.

There are some standout contributions: The title song is long-term loveable (although why four different renditions of the tune are needed on the album is a mystery - a couple of the "period" instrumental versions which work well on the movoe soundtrack are somewhat less successful as pure listening music. Alison Krauss and Gillian Welch are as usual faultless. Ralph and the other Stanleys are devastating. But how many times will you want to listen to the 4+ minutes of prison chant that opens the album? Or the squeaky kiddy song (the Peasalls)? Or the ancient ditties like "Big Rock Candy Mountain"? After a couple of spins, you may find yourself reaching for the skip button more than is comfortable.

I'm not really knocking this record - in a sense it's a masterpiece. And it's rightly selling by the millions. But if you haven't seen the film I'd give it a whirl in the listening booth before you part with your cash.

Stunning, evocative music., 14 Apr 2008
I'm not from the US, my family hail from Kashmir and I was born in the UK, grew up listening to punk rock but WOW! The soundtrack literally drips with the era and place it hails from; every time I hear a snippet I swear I can feel the heat and smell the wheat - so amazing!

Diverse selection of old-time music, 01 Jul 2005
The music here, like the film it provides the soundtrack for, is presumably intended to take us back to the thirties. Several songs from that era are featured along with traditional material that would have been popular then. Recorded mainly with state-of-the-art technology (except for some old recordings that are included and re-mastered), the sound quality is far superior to anything available in the thirties. Several different types of music can be found here - blues, gospel, country and folk - mainly performed by contemporary artists with a deep respect for tradition. I'll just pick out some of them although there are many excellent songs here.

Even Alison Krauss sticks firmly with tradition here - she often brings contemporary influences into her music these days but not here. Alison can be heard here on Down to the river to pray (as a solo singer), I'll fly away (providing harmony vocals for lead singer Gillian Welch) and Didn't leave nobody but the baby (joining Gillian and Emmylou in three-part harmony).

The inclusion of two Carter Stanley songs on a soundtrack such as this is predictable but welcome, with the Whites performing a superb version of the oft-recorded Keep on the sunny side, while the Peasall children (Hannah singing lead with Sarah and Leah providing harmony vocals) are in great form on In the highways. Children's recordings rarely impress me but this track does.

One song here that surprised me (though perhaps it shouldn't have) is Big rock candy mountain. It can be found on plenty of albums of children's songs, when it is invariably presented as an up-tempo song that children can (if they wish) sing along to. Here we get the original 1928 recording by Harry McLintock, who sings it at a more measured, reflective pace, showing that there is more to this song than I originally thought. I still prefer it as an up-tempo song generally but I'm glad I heard this version. I wonder what the Peasall sisters would have done with this song.

The Coen brothers clearly hoped that this soundtrack would provide a resurgence of interest in traditional music. While this soundtrack was a big commercial success, it seems that the majority of people who bought it (and continue to buy it) regard it as something of a novelty. Nashville record labels signed some traditional singers (Elizabeth Cook, though not featured here, is one that comes to mind) but they didn't get enough airplay on American country radio, so such artists were dropped and Nashville returned to its contemporary format. I'm sure that this soundtrack helped to win some new fans for traditional music, but not as many as the Coen brothers would like.

a lovely mix of traditional music, 04 Nov 2003
Performed by some of today's best singers, this multi-Grammy Award winner is a marvelous addition to any country/folk music collection. Some of these artists are at the top of their field, but some will be "discoveries" for most of us, like the beautiful rendition of "Hard Time Killing Floor Blues" by Chris Thomas King, a versatile young man who is versed in many styles, and here sings in the old blues tradition and does it brilliantly.

The highlights for me are: The legendary Ralph Stanley, with his plaintive acappella chant of "O Death", which carries with it all the pain and soul of Appalachia, and the purity of "I Am a Man of Constant Sorrow" by the Soggy Bottom Boys, who consist of Union Station member Dan Tyminsky on lead vocals and guitar, backed by Harley Allen and Pat Enright. For anyone who likes traditional music, you can't get any better than this.
Another acappella gem is "Didn't Leave Nobody but the Baby", with Emmylou Harris, Alison Krauss, and Gillian Welch harmonizing like an angels from another era. Everything on this disc recalls days gone by; there is a refreshing simplicity, and a lot of the songs are filled with faith.

There is exquisite musicianship on this CD, and it is a nice long one at 60'34 minutes. The booklet insert is something I appreciate too; it is a collage of yellowed stained paper on peeling walls, with a terrific layout, and as it says on one of its pages, "Old-Time Music Is Very Much Alive".

oh brother where art thou, 13 Jul 2002
first class traditional country and a bit of bluegrass. represents excelent value for money. so many good tracks its hard to pick one that shines above the rest.listen to YOU ARE MY SUNSHINE by norman blake if you are not tapping your toes then someone has nailed your feet to the floor.then there's I'm a man of constant sorrow-Soggy bottom boys Wow!then for a real treat try The Stanley Bros. Angel Band Traditional country at its best. many other great tracks from Alison Krauss the queen of country and the Whites with keep on the sunny side,backings are fantastic. This is one CD you won't be dissapointed with

GREAT ALBUM . . . BUT TRY BEFORE YOU BUY, 06 Jun 2002
Let me make one thing clear. "O Brother..." is one of my favourite films of all time. Not only that, but the musical soundtrack is one of its strongest features and stands as a valuable cultural document in its own right. In short, this is an album that anyone who loves country, bluegrass or folk music is likely to want in their collection.

So why, as I write, am I tossing up whether to only give it four stars? The answer is that I'm attempting to review it, not as a collector's item or a socio-historical document but as an album of music for repeated listening in the comfort of your own home. For that reason I'm not going to review the film rather than the album, as some reviewers here have done, because I don't assume that every listener is going to have the movie playing back in their heads as they listen to the music.

Rather, my comments are based on how this album will sound to someone who has picked up on the hearsay, or watched the Grammy ceremony, and is tempted to go out and buy this as a musical compilation. And in that setting, many listeners are going to be disappointed. The fact that a song has integrity, emotion, historical importance or great musicianship doesn't automatically make it great entertainment.

There are some standout contributions: The title song is long-term loveable (although why four different renditions of the tune are needed on the album is a mystery - a couple of the "period" instrumental versions which work well on the movoe soundtrack are somewhat less successful as pure listening music. Alison Krauss and Gillian Welch are as usual faultless. Ralph and the other Stanleys are devastating. But how many times will you want to listen to the 4+ minutes of prison chant that opens the album? Or the squeaky kiddy song (the Peasalls)? Or the ancient ditties like "Big Rock Candy Mountain"? After a couple of spins, you may find yourself reaching for the skip button more than is comfortable.

I'm not really knocking this record - in a sense it's a masterpiece. And it's rightly selling by the millions. But if you haven't seen the film I'd give it a whirl in the listening booth before you part with your cash.

What a discovery, 16 Jul 2008
I like to listen to Jerry Anderson on BBC Radio Ulster, he's really funny (although when my English Nephew was visiting he couldn't understand a word anyone on the show was saying) and he plays nice folk music. I heard the song 'village green appreciation society' a few times on his show, and thought it was brill (I don't remember the Kinks version.) I surfed the net to find who sang it, and came across Kate Rusby - what a discovery! I bought this album on the strength of that one track, and have played it nearly to death already. I like all the songs, as well a loving Kate's accent (I spent two years in Leeds when I was at college, and it brings me back to those happy times.) Buy it. Play it. Love it.

Worth it for the Kinks reworking, 08 May 2008
How can anyone who has heard this album agree with the creature who gave it 1 star? Whilst it's not my favourite KR set, it shines like a diamond in the dross of contemporary music and is worth the purchase price for the kinks rework from Jam & Jerusalem.

Sure to please all folk fans., 01 Mar 2008
This is one of Kate's best albums. In the past she has tended to overload her selections with the same themes, many of them quite despondent. Despite her unfortunate personal problems she has somehow managed to come up with a greater share of "up" songs. It's a policy I hope she maintains.Her voice is as sweet as ever,her production sounds in no way inferior to John McCusker, and she has enlisted a couple of new backing musicians to add to her usual retinue. This has helped to freshen things up.Chris Thile does a lovely harmony (along with Eddi Reader)on High on a Hill, plays mandolin and is joined by the excellent John Doyle on another track. The tracks I enjoy most are her own originals, which is another encouraging sign for the future.The title track has a gorgeous lilt which makes me, at any rate, want to sing along with it every time I play it!
Was a little disappointed with Blooming Heather described here as "traditional".The song is better known as "Wild Mountain Thyme" or "Go Lassie, Go" and was written by Francie McPeake , who I believe was from Belfast.I don't like the male vocal line used either,so this does not replace Sean Tyrrell as my favourite version. The album's closer is the old Ray Davies song " The Village Green Preservation Society" which is every bit as successful as it is surprising,and is an inspired selection.You can't really go wrong buying this album !

TIME FOR A RETHINK, 08 Feb 2008
I've been a fan of Kate's since I bought her early albums including the ones she did with Kathryn Roberts and Equation. However, this is her worst yet, which is perhaps forgivable considering the circumstances of its evolution.

She says herself on the sleeve notes that this album was tough to make and, frankly, it shows. It's a family effort with brother helping out with the production and doing the mixing - which is very patchy. The best track on the album, 'The Streams of Lovely Nancy' is ruined by the intrusion of the now seemingly obligatory brass band while 'Blooming Heather' is quite the worst rendering of this beautiful song that I have ever heard. Far from enhancing the piece, the intervention of operatic tenor, John Hudson, is seriously misplaced.

Kate should review her direction once she's over her obvious distress at the failure of her marriage. A return to her roots would be a good idea as well as getting some much needed professional help in production and mixing techniques.

Given this, I'm sure her next album will signal a return to form from the Barnsley Nightingale.

what a sublime surprise, 25 Jan 2008
I love taking risks with my music don't you? Having heard the calming Village Green Preservation Society and a brief look at all the reviews here I dived in and bought this CD. Five stars! What more can I say. It's a beautiful album and perfect for those mellow days.

A Hundred Miles or More carries the subtitle A Collection, and what a curious collection it is--cuts from soundtracks, side projects, and tribute albums, plus guest duets on other artists' albums and five previously unreleased tracks. In other words, this is a collection of Alison Krauss performances that have never appeared on an Alison Krauss album, though it holds together better than such a grab-bag approach might suggest. Highlights such as her duet with Brad Paisley on "Whiskey Lullaby" and her a cappella rendition of "Down to the River to Pray" from O Brother, Where Art Thou? will be familiar to most Krauss fans, though it's doubtful that many share her infatuation with retro rocker John Waite (with whom she revives his "Missing You" and duets on a cover of Don Williams's "Lay Down Beside Me."). Other projects represented range from Disney to the Chieftains to the Louvin Brothers (she duets with James Taylor on their "How's the World Treating You." There's minimal contribution from her Union Station band--making this a solo release by default--and little information to indicate whether the previously unreleased tracks were outtakes from earlier releases or recently recorded for this one. --Don McLeese

Stunning, evocative music., 14 Apr 2008
I'm not from the US, my family hail from Kashmir and I was born in the UK, grew up listening to punk rock but WOW! The soundtrack literally drips with the era and place it hails from; every time I hear a snippet I swear I can feel the heat and smell the wheat - so amazing!

Diverse selection of old-time music, 01 Jul 2005
The music here, like the film it provides the soundtrack for, is presumably intended to take us back to the thirties. Several songs from that era are featured along with traditional material that would have been popular then. Recorded mainly with state-of-the-art technology (except for some old recordings that are included and re-mastered), the sound quality is far superior to anything available in the thirties. Several different types of music can be found here - blues, gospel, country and folk - mainly performed by contemporary artists with a deep respect for tradition. I'll just pick out some of them although there are many excellent songs here.

Even Alison Krauss sticks firmly with tradition here - she often brings contemporary influences into her music these days but not here. Alison can be heard here on Down to the river to pray (as a solo singer), I'll fly away (providing harmony vocals for lead singer Gillian Welch) and Didn't leave nobody but the baby (joining Gillian and Emmylou in three-part harmony).

The inclusion of two Carter Stanley songs on a soundtrack such as this is predictable but welcome, with the Whites performing a superb version of the oft-recorded Keep on the sunny side, while the Peasall children (Hannah singing lead with Sarah and Leah providing harmony vocals) are in great form on In the highways. Children's recordings rarely impress me but this track does.

One song here that surprised me (though perhaps it shouldn't have) is Big rock candy mountain. It can be found on plenty of albums of children's songs, when it is invariably presented as an up-tempo song that children can (if they wish) sing along to. Here we get the original 1928 recording by Harry McLintock, who sings it at a more measured, reflective pace, showing that there is more to this song than I originally thought. I still prefer it as an up-tempo song generally but I'm glad I heard this version. I wonder what the Peasall sisters would have done with this song.

The Coen brothers clearly hoped that this soundtrack would provide a resurgence of interest in traditional music. While this soundtrack was a big commercial success, it seems that the majority of people who bought it (and continue to buy it) regard it as something of a novelty. Nashville record labels signed some traditional singers (Elizabeth Cook, though not featured here, is one that comes to mind) but they didn't get enough airplay on American country radio, so such artists were dropped and Nashville returned to its contemporary format. I'm sure that this soundtrack helped to win some new fans for traditional music, but not as many as the Coen brothers would like.

a lovely mix of traditional music, 04 Nov 2003
Performed by some of today's best singers, this multi-Grammy Award winner is a marvelous addition to any country/folk music collection. Some of these artists are at the top of their field, but some will be "discoveries" for most of us, like the beautiful rendition of "Hard Time Killing Floor Blues" by Chris Thomas King, a versatile young man who is versed in many styles, and here sings in the old blues tradition and does it brilliantly.

The highlights for me are: The legendary Ralph Stanley, with his plaintive acappella chant of "O Death", which carries with it all the pain and soul of Appalachia, and the purity of "I Am a Man of Constant Sorrow" by the Soggy Bottom Boys, who consist of Union Station member Dan Tyminsky on lead vocals and guitar, backed by Harley Allen and Pat Enright. For anyone who likes traditional music, you can't get any better than this.
Another acappella gem is "Didn't Leave Nobody but the Baby", with Emmylou Harris, Alison Krauss, and Gillian Welch harmonizing like an angels from another era. Everything on this disc recalls days gone by; there is a refreshing simplicity, and a lot of the songs are filled with faith.

There is exquisite musicianship on this CD, and it is a nice long one at 60'34 minutes. The booklet insert is something I appreciate too; it is a collage of yellowed stained paper on peeling walls, with a terrific layout, and as it says on one of its pages, "Old-Time Music Is Very Much Alive".

oh brother where art thou, 13 Jul 2002
first class traditional country and a bit of bluegrass. represents excelent value for money. so many good tracks its hard to pick one that shines above the rest.listen to YOU ARE MY SUNSHINE by norman blake if you are not tapping your toes then someone has nailed your feet to the floor.then there's I'm a man of constant sorrow-Soggy bottom boys Wow!then for a real treat try The Stanley Bros. Angel Band Traditional country at its best. many other great tracks from Alison Krauss the queen of country and the Whites with keep on the sunny side,backings are fantastic. This is one CD you won't be dissapointed with

GREAT ALBUM . . . BUT TRY BEFORE YOU BUY, 06 Jun 2002
Let me make one thing clear. "O Brother..." is one of my favourite films of all time. Not only that, but the musical soundtrack is one of its strongest features and stands as a valuable cultural document in its own right. In short, this is an album that anyone who loves country, bluegrass or folk music is likely to want in their collection.

So why, as I write, am I tossing up whether to only give it four stars? The answer is that I'm attempting to review it, not as a collector's item or a socio-historical document but as an album of music for repeated listening in the comfort of your own home. For that reason I'm not going to review the film rather than the album, as some reviewers here have done, because I don't assume that every listener is going to have the movie playing back in their heads as they listen to the music.

Rather, my comments are based on how this album will sound to someone who has picked up on the hearsay, or watched the Grammy ceremony, and is tempted to go out and buy this as a musical compilation. And in that setting, many listeners are going to be disappointed. The fact that a song has integrity, emotion, historical importance or great musicianship doesn't automatically make it great entertainment.

There are some standout contributions: The title song is long-term loveable (although why four different renditions of the tune are needed on the album is a mystery - a couple of the "period" instrumental versions which work well on the movoe soundtrack are somewhat less successful as pure listening music. Alison Krauss and Gillian Welch are as usual faultless. Ralph and the other Stanleys are devastating. But how many times will you want to listen to the 4+ minutes of prison chant that opens the album? Or the squeaky kiddy song (the Peasalls)? Or the ancient ditties like "Big Rock Candy Mountain"? After a couple of spins, you may find yourself reaching for the skip button more than is comfortable.

I'm not really knocking this record - in a sense it's a masterpiece. And it's rightly selling by the millions. But if you haven't seen the film I'd give it a whirl in the listening booth before you part with your cash.

What a discovery, 16 Jul 2008
I like to listen to Jerry Anderson on BBC Radio Ulster, he's really funny (although when my English Nephew was visiting he couldn't understand a word anyone on the show was saying) and he plays nice folk music. I heard the song 'village green appreciation society' a few times on his show, and thought it was brill (I don't remember the Kinks version.) I surfed the net to find who sang it, and came across Kate Rusby - what a discovery! I bought this album on the strength of that one track, and have played it nearly to death already. I like all the songs, as well a loving Kate's accent (I spent two years in Leeds when I was at college, and it brings me back to those happy times.) Buy it. Play it. Love it.

Worth it for the Kinks reworking, 08 May 2008
How can anyone who has heard this album agree with the creature who gave it 1 star? Whilst it's not my favourite KR set, it shines like a diamond in the dross of contemporary music and is worth the purchase price for the kinks rework from Jam & Jerusalem.

Sure to please all folk fans., 01 Mar 2008
This is one of Kate's best albums. In the past she has tended to overload her selections with the same themes, many of them quite despondent. Despite her unfortunate personal problems she has somehow managed to come up with a greater share of "up" songs. It's a policy I hope she maintains.Her voice is as sweet as ever,her production sounds in no way inferior to John McCusker, and she has enlisted a couple of new backing musicians to add to her usual retinue. This has helped to freshen things up.Chris Thile does a lovely harmony (along with Eddi Reader)on High on a Hill, plays mandolin and is joined by the excellent John Doyle on another track. The tracks I enjoy most are her own originals, which is another encouraging sign for the future.The title track has a gorgeous lilt which makes me, at any rate, want to sing along with it every time I play it!
Was a little disappointed with Blooming Heather described here as "traditional".The song is better known as "Wild Mountain Thyme" or "Go Lassie, Go" and was written by Francie McPeake , who I believe was from Belfast.I don't like the male vocal line used either,so this does not replace Sean Tyrrell as my favourite version. The album's closer is the old Ray Davies song " The Village Green Preservation Society" which is every bit as successful as it is surprising,and is an inspired selection.You can't really go wrong buying this album !

TIME FOR A RETHINK, 08 Feb 2008
I've been a fan of Kate's since I bought her early albums including the ones she did with Kathryn Roberts and Equation. However, this is her worst yet, which is perhaps forgivable considering the circumstances of its evolution.

She says herself on the sleeve notes that this album was tough to make and, frankly, it shows. It's a family effort with brother helping out with the production and doing the mixing - which is very patchy. The best track on the album, 'The Streams of Lovely Nancy' is ruined by the intrusion of the now seemingly obligatory brass band while 'Blooming Heather' is quite the worst rendering of this beautiful song that I have ever heard. Far from enhancing the piece, the intervention of operatic tenor, John Hudson, is seriously misplaced.

Kate should review her direction once she's over her obvious distress at the failure of her marriage. A return to her roots would be a good idea as well as getting some much needed professional help in production and mixing techniques.

Given this, I'm sure her next album will signal a return to form from the Barnsley Nightingale.

what a sublime surprise, 25 Jan 2008
I love taking risks with my music don't you? Having heard the calming Village Green Preservation Society and a brief look at all the reviews here I dived in and bought this CD. Five stars! What more can I say. It's a beautiful album and perfect for those mellow days.

Alison at her best, 01 Jul 2008
Alison Krauss I guess is one of those singers you either love or hate. She has a tonal quality that for me epitomises the very best in Bluegrass. This album is no exception. The sheer quality of her voice is at time unbelievable
and whilst it is true she veers away from pure bluegrass - her strength is that she can carry this off with huge credibility. I bought this album not only because I love Alison Krauss - but I heard her wonderful duet with James Taylor of "hows the world treating you?"- and simply had to have it! This is an old song recorded by Elvis in his early days - and hearing Alison and James brought back all those memories of wonderful songs, and meaningful lyrics. I also adore her version of "I'm just a country boy/girl" formerly recorded by Don Williams - but for me Alison nails it!


Very enjoyable. Good music., 20 Nov 2007
This is not a bluegrass album. Whilst Krauss does sing bluegrass especially when with Union Station, she does not restrict herself to bluegrass. This is a collection of songs from different project with some previously unreleased. There are songs from Cold Mountain and O Brother. Her vocals are beautiful. The songs are excellent and varied in style. Highlights include the incredibly sad Jacobs dream. The deserved CMA award winning song with brad Paisley 'Whiskey Lullaby' is powerful. The Duet with Waite on MIssing You works very well. I am not a big fan of Krauss but after this album and the one with Palmer, I am becoming one. This is a very good collection. Recommended.

Update your collection of Alison's music with this great compilation., 10 Aug 2007
This is a lovely album, though quite different from what we normally get from Alison Krauss. Do not expect a bluegrass album, though one or more members of the superb Union Station appear on 10 of the 16 tracks. The lively hoedown 'Sawing on The Strings' is the nearest we get to a bluegrass song, with twin fiddles from Alison and Stuart Duncan. The brilliant Jerry Douglas appears on 6 of the tracks, and I was particularly taken by his lap steel sound on tracks 2 and 16. None of the songs here have appeared on any of Alison's own albums. Some will be familiar to many, however, particularly 'Down To The Valley To Pray' from 'O Brother, Where Art Thou?', sung a cappella with a choir of mostly well-known names billed as the First Baptist Church Choir Of White House, Tennessee. There's also 'Molly Ban (Bawn)' from The Chieftains' album 'Down The Old Plank Road: The Nashville Sessions', the atmospheric 'The Scarlet Tide' and 'You Will Be My Ain True Love' from the film 'Cold Mountain', and 'How's The World Treating You', a duet with James Taylor I first heard on a tribute album to the Louvin Brothers. Also perhaps familiar to some will be Alison's duet with Brad Paisley on 'Whiskey Lullaby', a country hit for Jon Randall, who co-wrote the song with veteran legendary songwriter Bill Anderson. This is one of those typical stone country songs that seem rather maudlin to my UK ears. It has a strong melody and is here sung sincerely and without irony. There are 5 new songs, tracks 1, 2, 3, 4 and 16, all extremely good, which to me make an otherwise very good album into an essential one for any fan of Alison's music. The album starts and ends with 2 songs associated with Don Williams, here given a beautiful, slower reading. Alison's distinctive, expressive voice makes them sound as if they are brand new. The latter, 'Lay Down Beside Me', is the second of 2 duets with John Waite, which work very well. With this song, and the duet with JT you'll be able to sing the harmony lines, as they are so distinctive. In addition to the Don Williams covers, my own favourite track is the wonderful 'Get Me Through December' with some lovely fiddle playing from Natalie MacMaster. A real treat. The accompanying 16-page booklet is very informative and gives all track details.
A worthy collection, in my view, which though quite varied, hangs together well. With 16 tracks totalling over 67 minutes, it's very good value too.

Disappointing, 07 Aug 2007
I am probably at odds with most AK fans but this to me is a disappointing album. AK continually tries to straddle bluegrass with mainstream country. She has a divine voice and is an accomplished fiddle player and when teamed with Union Station, is there really a better group of musicians on the planet? But this album is another attempt to project her into mainstream country or even crossover and like previous solo projects is neither fish nor fowl. I find her solo output forced and cloying. She deserves to be recognised as a leading lady of country music but I have listened to this album once and am unlikely to do so again.

wonderful, 03 May 2007
If you are already a fan of Alison Krauss this album is a must have. It includes songs which cannot be found on her other albums and comprises of duets with other artists and songs off soundtracks. Soft and melodious for the most part this is a wonderful album to just sit back and relax to.
That said, you don't need to be a fan of hers to enjoy this! As long as you have some appreciation for country music and the various themes they tackle this album will appeal to you.

New Favorite is the first album released by Alison Krauss and Union Station since their role in the megahit soundtrack to O Brother, Where Art Thou?--an album that's done more to advance the cause of bluegrass since Bill Monroe first conjured the music out of the hills of western Kentucky. While their previous full album, Forget About It, showcased the more contemporary part of Krauss's musical equation and the O Brother soundtrack spotlighted the more traditional, New Favorite combines the approaches in balancing the softer sounds with the rougher-edged material. Krauss' soft and intimate vocals particularly shine on the soulful title tune of love gone cold. However, it's mostly the older sounds that you'll remember from this largely sombre album, one that telegraphs uncertainty, doom, and the promise of bloodshed throughout much of the repertoire. On "Momma Cried", a song about a child-snatching that tore a family asunder, Dan Tyminski's tenor vocals rise above a wailing dobro, a driving banjo and a thumping, anchoring bass to convey unspeakable pain. Too many of the pop-minded songs fall flat in comparison, but although this may not be the group's best effort overall, no other crossover bluegrass band begins to meet their mark either musically or emotionally, as New Favorite so amply shows. --Alanna Nash

Stunning, evocative music., 14 Apr 2008
I'm not from the US, my family hail from Kashmir and I was born in the UK, grew up listening to punk rock but WOW! The soundtrack literally drips with the era and place it hails from; every time I hear a snippet I swear I can feel the heat and smell the wheat - so amazing!

Diverse selection of old-time music, 01 Jul 2005
The music here, like the film it provides the soundtrack for, is presumably intended to take us back to the thirties. Several songs from that era are featured along with traditional material that would have been popular then. Recorded mainly with state-of-the-art technology (except for some old recordings that are included and re-mastered), the sound quality is far superior to anything available in the thirties. Several different types of music can be found here - blues, gospel, country and folk - mainly performed by contemporary artists with a deep respect for tradition. I'll just pick out some of them although there are many excellent songs here.

Even Alison Krauss sticks firmly with tradition here - she often brings contemporary influences into her music these days but not here. Alison can be heard here on Down to the river to pray (as a solo singer), I'll fly away (providing harmony vocals for lead singer Gillian Welch) and Didn't leave nobody but the baby (joining Gillian and Emmylou in three-part harmony).

The inclusion of two Carter Stanley songs on a soundtrack such as this is predictable but welcome, with the Whites performing a superb version of the oft-recorded Keep on the sunny side, while the Peasall children (Hannah singing lead with Sarah and Leah providing harmony vocals) are in great form on In the highways. Children's recordings rarely impress me but this track does.

One song here that surprised me (though perhaps it shouldn't have) is Big rock candy mountain. It can be found on plenty of albums of children's songs, when it is invariably presented as an up-tempo song that children can (if they wish) sing along to. Here we get the original 1928 recording by Harry McLintock, who sings it at a more measured, reflective pace, showing that there is more to this song than I originally thought. I still prefer it as an up-tempo song generally but I'm glad I heard this version. I wonder what the Peasall sisters would have done with this song.

The Coen brothers clearly hoped that this soundtrack would provide a resurgence of interest in traditional music. While this soundtrack was a big commercial success, it seems that the majority of people who bought it (and continue to buy it) regard it as something of a novelty. Nashville record labels signed some traditional singers (Elizabeth Cook, though not featured here, is one that comes to mind) but they didn't get enough airplay on American country radio, so such artists were dropped and Nashville returned to its contemporary format. I'm sure that this soundtrack helped to win some new fans for traditional music, but not as many as the Coen brothers would like.

a lovely mix of traditional music, 04 Nov 2003
Performed by some of today's best singers, this multi-Grammy Award winner is a marvelous addition to any country/folk music collection. Some of these artists are at the top of their field, but some will be "discoveries" for most of us, like the beautiful rendition of "Hard Time Killing Floor Blues" by Chris Thomas King, a versatile young man who is versed in many styles, and here sings in the old blues tradition and does it brilliantly.

The highlights for me are: The legendary Ralph Stanley, with his plaintive acappella chant of "O Death", which carries with it all the pain and soul of Appalachia, and the purity of "I Am a Man of Constant Sorrow" by the Soggy Bottom Boys, who consist of Union Station member Dan Tyminsky on lead vocals and guitar, backed by Harley Allen and Pat Enright. For anyone who likes traditional music, you can't get any better than this.
Another acappella gem is "Didn't Leave Nobody but the Baby", with Emmylou Harris, Alison Krauss, and Gillian Welch harmonizing like an angels from another era. Everything on this disc recalls days gone by; there is a refreshing simplicity, and a lot of the songs are filled with faith.

There is exquisite musicianship on this CD, and it is a nice long one at 60'34 minutes. The booklet insert is something I appreciate too; it is a collage of yellowed stained paper on peeling walls, with a terrific layout, and as it says on one of its pages, "Old-Time Music Is Very Much Alive".

oh brother where art thou, 13 Jul 2002
first class traditional country and a bit of bluegrass. represents excelent value for money. so many good tracks its hard to pick one that shines above the rest.listen to YOU ARE MY SUNSHINE by norman blake if you are not tapping your toes then someone has nailed your feet to the floor.then there's I'm a man of constant sorrow-Soggy bottom boys Wow!then for a real treat try The Stanley Bros. Angel Band Traditional country at its best. many other great tracks from Alison Krauss the queen of country and the Whites with keep on the sunny side,backings are fantastic. This is one CD you won't be dissapointed with

GREAT ALBUM . . . BUT TRY BEFORE YOU BUY, 06 Jun 2002
Let me make one thing clear. "O Brother..." is one of my favourite films of all time. Not only that, but the musical soundtrack is one of its strongest features and stands as a valuable cultural document in its own right. In short, this is an album that anyone who loves country, bluegrass or folk music is likely to want in their collection.

So why, as I write, am I tossing up whether to only give it four stars? The answer is that I'm attempting to review it, not as a collector's item or a socio-historical document but as an album of music for repeated listening in the comfort of your own home. For that reason I'm not going to review the film rather than the album, as some reviewers here have done, because I don't assume that every listener is going to have the movie playing back in their heads as they listen to the music.

Rather, my comments are based on how this album will sound to someone who has picked up on the hearsay, or watched the Grammy ceremony, and is tempted to go out and buy this as a musical compilation. And in that setting, many listeners are going to be disappointed. The fact that a song has integrity, emotion, historical importance or great musicianship doesn't automatically make it great entertainment.

There are some standout contributions: The title song is long-term loveable (although why four different renditions of the tune are needed on the album is a mystery - a couple of the "period" instrumental versions which work well on the movoe soundtrack are somewhat less successful as pure listening music. Alison Krauss and Gillian Welch are as usual faultless. Ralph and the other Stanleys are devastating. But how many times will you want to listen to the 4+ minutes of prison chant that opens the album? Or the squeaky kiddy song (the Peasalls)? Or the ancient ditties like "Big Rock Candy Mountain"? After a couple of spins, you may find yourself reaching for the skip button more than is comfortable.

I'm not really knocking this record - in a sense it's a masterpiece. And it's rightly selling by the millions. But if you haven't seen the film I'd give it a whirl in the listening booth before you part with your cash.

What a discovery, 16 Jul 2008
I like to listen to Jerry Anderson on BBC Radio Ulster, he's really funny (although when my English Nephew was visiting he couldn't understand a word anyone on the show was saying) and he plays nice folk music. I heard the song 'village green appreciation society' a few times on his show, and thought it was brill (I don't remember the Kinks version.) I surfed the net to find who sang it, and came across Kate Rusby - what a discovery! I bought this album on the strength of that one track, and have played it nearly to death already. I like all the songs, as well a loving Kate's accent (I spent two years in Leeds when I was at college, and it brings me back to those happy times.) Buy it. Play it. Love it.

Worth it for the Kinks reworking, 08 May 2008
How can anyone who has heard this album agree with the creature who gave it 1 star? Whilst it's not my favourite KR set, it shines like a diamond in the dross of contemporary music and is worth the purchase price for the kinks rework from Jam & Jerusalem.

Sure to please all folk fans., 01 Mar 2008
This is one of Kate's best albums. In the past she has tended to overload her selections with the same themes, many of them quite despondent. Despite her unfortunate personal problems she has somehow managed to come up with a greater share of "up" songs. It's a policy I hope she maintains.Her voice is as sweet as ever,her production sounds in no way inferior to John McCusker, and she has enlisted a couple of new backing musicians to add to her usual retinue. This has helped to freshen things up.Chris Thile does a lovely harmony (along with Eddi Reader)on High on a Hill, plays mandolin and is joined by the excellent John Doyle on another track. The tracks I enjoy most are her own originals, which is another encouraging sign for the future.The title track has a gorgeous lilt which makes me, at any rate, want to sing along with it every time I play it!
Was a little disappointed with Blooming Heather described here as "traditional".The song is better known as "Wild Mountain Thyme" or "Go Lassie, Go" and was written by Francie McPeake , who I believe was from Belfast.I don't like the male vocal line used either,so this does not replace Sean Tyrrell as my favourite version. The album's closer is the old Ray Davies song " The Village Green Preservation Society" which is every bit as successful as it is surprising,and is an inspired selection.You can't really go wrong buying this album !

TIME FOR A RETHINK, 08 Feb 2008
I've been a fan of Kate's since I bought her early albums including the ones she did with Kathryn Roberts and Equation. However, this is her worst yet, which is perhaps forgivable considering the circumstances of its evolution.

She says herself on the sleeve notes that this album was tough to make and, frankly, it shows. It's a family effort with brother helping out with the production and doing the mixing - which is very patchy. The best track on the album, 'The Streams of Lovely Nancy' is ruined by the intrusion of the now seemingly obligatory brass band while 'Blooming Heather' is quite the worst rendering of this beautiful song that I have ever heard. Far from enhancing the piece, the intervention of operatic tenor, John Hudson, is seriously misplaced.

Kate should review her direction once she's over her obvious distress at the failure of her marriage. A return to her roots would be a good idea as well as getting some much needed professional help in production and mixing techniques.

Given this, I'm sure her next album will signal a return to form from the Barnsley Nightingale.

what a sublime surprise, 25 Jan 2008
I love taking risks with my music don't you? Having heard the calming Village Green Preservation Society and a brief look at all the reviews here I dived in and bought this CD. Five stars! What more can I say. It's a beautiful album and perfect for those mellow days.

Alison at her best, 01 Jul 2008
Alison Krauss I guess is one of those singers you either love or hate. She has a tonal quality that for me epitomises the very best in Bluegrass. This album is no exception. The sheer quality of her voice is at time unbelievable
and whilst it is true she veers away from pure bluegrass - her strength is that she can carry this off with huge credibility. I bought this album not only because I love Alison Krauss - but I heard her wonderful duet with James Taylor of "hows the world treating you?"- and simply had to have it! This is an old song recorded by Elvis in his early days - and hearing Alison and James brought back all those memories of wonderful songs, and meaningful lyrics. I also adore her version of "I'm just a country boy/girl" formerly recorded by Don Williams - but for me Alison nails it!


Very enjoyable. Good music., 20 Nov 2007
This is not a bluegrass album. Whilst Krauss does sing bluegrass especially when with Union Station, she does not restrict herself to bluegrass. This is a collection of songs from different project with some previously unreleased. There are songs from Cold Mountain and O Brother. Her vocals are beautiful. The songs are excellent and varied in style. Highlights include the incredibly sad Jacobs dream. The deserved CMA award winning song with brad Paisley 'Whiskey Lullaby' is powerful. The Duet with Waite on MIssing You works very well. I am not a big fan of Krauss but after this album and the one with Palmer, I am becoming one. This is a very good collection. Recommended.

Update your collection of Alison's music with this great compilation., 10 Aug 2007
This is a lovely album, though quite different from what we normally get from Alison Krauss. Do not expect a bluegrass album, though one or more members of the superb Union Station appear on 10 of the 16 tracks. The lively hoedown 'Sawing on The Strings' is the nearest we get to a bluegrass song, with twin fiddles from Alison and Stuart Duncan. The brilliant Jerry Douglas appears on 6 of the tracks, and I was particularly taken by his lap steel sound on tracks 2 and 16. None of the songs here have appeared on any of Alison's own albums. Some will be familiar to many, however, particularly 'Down To The Valley To Pray' from 'O Brother, Where Art Thou?', sung a cappella with a choir of mostly well-known names billed as the First Baptist Church Choir Of White House, Tennessee. There's also 'Molly Ban (Bawn)' from The Chieftains' album 'Down The Old Plank Road: The Nashville Sessions', the atmospheric 'The Scarlet Tide' and 'You Will Be My Ain True Love' from the film 'Cold Mountain', and 'How's The World Treating You', a duet with James Taylor I first heard on a tribute album to the Louvin Brothers. Also perhaps familiar to some will be Alison's duet with Brad Paisley on 'Whiskey Lullaby', a country hit for Jon Randall, who co-wrote the song with veteran legendary songwriter Bill Anderson. This is one of those typical stone country songs that seem rather maudlin to my UK ears. It has a strong melody and is here sung sincerely and without irony. There are 5 new songs, tracks 1, 2, 3, 4 and 16, all extremely good, which to me make an otherwise very good album into an essential one for any fan of Alison's music. The album starts and ends with 2 songs associated with Don Williams, here given a beautiful, slower reading. Alison's distinctive, expressive voice makes them sound as if they are brand new. The latter, 'Lay Down Beside Me', is the second of 2 duets with John Waite, which work very well. With this song, and the duet with JT you'll be able to sing the harmony lines, as they are so distinctive. In addition to the Don Williams covers, my own favourite track is the wonderful 'Get Me Through December' with some lovely fiddle playing from Natalie MacMaster. A real treat. The accompanying 16-page booklet is very informative and gives all track details.
A worthy collection, in my view, which though quite varied, hangs together well. With 16 tracks totalling over 67 minutes, it's very good value too.

Disappointing, 07 Aug 2007
I am probably at odds with most AK fans but this to me is a disappointing album. AK continually tries to straddle bluegrass with mainstream country. She has a divine voice and is an accomplished fiddle player and when teamed with Union Station, is there really a better group of musicians on the planet? But this album is another attempt to project her into mainstream country or even crossover and like previous solo projects is neither fish nor fowl. I find her solo output forced and cloying. She deserves to be recognised as a leading lady of country music but I have listened to this album once and am unlikely to do so again.

wonderful, 03 May 2007
If you are already a fan of Alison Krauss this album is a must have. It includes songs which cannot be found on her other albums and comprises of duets with other artists and songs off soundtracks. Soft and melodious for the most part this is a wonderful album to just sit back and relax to.
That said, you don't need to be a fan of hers to enjoy this! As long as you have some appreciation for country music and the various themes they tackle this album will appeal to you.

Simply beautiful, 14 Jun 2004
Alison Krauss has one of the beautiful voices in modern music. But this album shows Union Station to be so much more than her stunning vocals. The stand out feature of this album is the musicianship of all members of the band. The addition of jerry douglas dobro has added a new layer to their compositions. This album is simply a must.

Simply superb, 22 Mar 2004
Alison Krauss & Union Station are paving the way in modern country/bluegrass music, and are setting milestones as they go. There's something about this group that is just electric. I guess it's the way they mix traditional styles and songs (in the form of 'Momma Cried' and 'The Boy Who Wouldn't Hoe Corn') with modern music influences (shown in 'Let Me Touch You For A While').

This album is perfect for anyone who is new to country music, or just for those who want to hear some of the most beautiful singing and most perfect playing you'll ever hear. It's no wonder that this album gained platinum in a matter or months, and this band has earned dozens of awards. They deserve every single one. Anyone who buys this album will certainly not be disappointed.

My new favorite, 02 Mar 2004
Well this album is certainly my new favorite. The clarity of Alison's voice is exeptional. All of my friends have insisted on getting a copy since I played it to them and they are all well and truly hooked. I've never been a blue grass / country fan but this album has certainly converted me and I'm looking for more of the same. I just can't get enough.

Lost and found, 09 Jan 2004
Oh what a delight! I'm no out and out Bluegrass or Country fan, however I love Ry Cooder and if you love him you'll love this album.
It is a superb album and even my eldest son, a purist when it comes to rock, country blues and the like is enthusiastic about it.
Alison has a voice so sweet yet so strong and clear that it raises the hackles to hear it. It is an irony that she is seen mainly as a backing musician and vocalist when her voice is clearly superior to that of the person she usually backs.

Apart from the odd track I would not recommend her early work as much of it is schmaltzy, anodyne country ballad but with this album she has returned to her Appalachian/Bluegrass roots. It is a tour de force.

A complete classic, 13 Jan 2003
I am so pleased I bought this record.
I saw this band on TV, having inadvertently tuned into the Country Music awards late one night. The first act I saw perform live on stage was Alison Krauss and Union Station. They played Lucky One, I listened and was hooked! Amidst the glitz and pretence inherent with American awards ceremonies shone this band as one true, honest and highly skilled. Shining also was their modesty with Alison Krauss capturing my attention from the first note.

I bought the album for my girlfriend. A treat which goes up and down in tempo and style yet maintains its sheer quality throughout. Its one of those albums you end up showing off to all your friends because you discovered it first!

Everyone I've played it to have also loved it and have since asked me for its title...they want it!

I think you would have to be an individual of little heart or soul and lacking almost completely in personality to not like this record.
The ballads are instantly adorable whilst the harder edged bluegrass sounds are distinct growers.

One that will see the inside of my CD player for many years to come.

Stunning, evocative music., 14 Apr 2008
I'm not from the US, my family hail from Kashmir and I was born in the UK, grew up listening to punk rock but WOW! The soundtrack literally drips with the era and place it hails from; every time I hear a snippet I swear I can feel the heat and smell the wheat - so amazing!

Diverse selection of old-time music, 01 Jul 2005
The music here, like the film it provides the soundtrack for, is presumably intended to take us back to the thirties. Several songs from that era are featured along with traditional material that would have been popular then. Recorded mainly with state-of-the-art technology (except for some old recordings that are included and re-mastered), the sound quality is far superior to anything available in the thirties. Several different types of music can be found here - blues, gospel, country and folk - mainly performed by contemporary artists with a deep respect for tradition. I'll just pick out some of them although there are many excellent songs here.

Even Alison Krauss sticks firmly with tradition here - she often brings contemporary influences into her music these days but not here. Alison can be heard here on Down to the river to pray (as a solo singer), I'll fly away (providing harmony vocals for lead singer Gillian Welch) and Didn't leave nobody but the baby (joining Gillian and Emmylou in three-part harmony).

The inclusion of two Carter Stanley songs on a soundtrack such as this is predictable but welcome, with the Whites performing a superb version of the oft-recorded Keep on the sunny side, while the Peasall children (Hannah singing lead with Sarah and Leah providing harmony vocals) are in great form on In the highways. Children's recordings rarely impress me but this track does.

One song here that surprised me (though perhaps it shouldn't have) is Big rock candy mountain. It can be found on plenty of albums of children's songs, when it is invariably presented as an up-tempo song that children can (if they wish) sing along to. Here we get the original 1928 recording by Harry McLintock, who sings it at a more measured, reflective pace, showing that there is more to this song than I originally thought. I still prefer it as an up-tempo song generally but I'm glad I heard this version. I wonder what the Peasall sisters would have done with this song.

The Coen brothers clearly hoped that this soundtrack would provide a resurgence of interest in traditional music. While this soundtrack was a big commercial success, it seems that the majority of people who bought it (and continue to buy it) regard it as something of a novelty. Nashville record labels signed some traditional singers (Elizabeth Cook, though not featured here, is one that comes to mind) but they didn't get enough airplay on American country radio, so such artists were dropped and Nashville returned to its contemporary format. I'm sure that this soundtrack helped to win some new fans for traditional music, but not as many as the Coen brothers would like.

a lovely mix of traditional music, 04 Nov 2003
Performed by some of today's best singers, this multi-Grammy Award winner is a marvelous addition to any country/folk music collection. Some of these artists are at the top of their field, but some will be "discoveries" for most of us, like the beautiful rendition of "Hard Time Killing Floor Blues" by Chris Thomas King, a versatile young man who is versed in many styles, and here sings in the old blues tradition and does it brilliantly.

The highlights for me are: The legendary Ralph Stanley, with his plaintive acappella chant of "O Death", which carries with it all the pain and soul of Appalachia, and the purity of "I Am a Man of Constant Sorrow" by the Soggy Bottom Boys, who consist of Union Station member Dan Tyminsky on lead vocals and guitar, backed by Harley Allen and Pat Enright. For anyone who likes traditional music, you can't get any better than this.
Another acappella gem is "Didn't Leave Nobody but the Baby", with Emmylou Harris, Alison Krauss, and Gillian Welch harmonizing like an angels from another era. Everything on this disc recalls days gone by; there is a refreshing simplicity, and a lot of the songs are filled with faith.

There is exquisite musicianship on this CD, and it is a nice long one at 60'34 minutes. The booklet insert is something I appreciate too; it is a collage of yellowed stained paper on peeling walls, with a terrific layout, and as it says on one of its pages, "Old-Time Music Is Very Much Alive".

oh brother where art thou, 13 Jul 2002
first class traditional country and a bit of bluegrass. represents excelent value for money. so many good tracks its hard to pick one that shines above the rest.listen to YOU ARE MY SUNSHINE by norman blake if you are not tapping your toes then someone has nailed your feet to the floor.then there's I'm a man of constant sorrow-Soggy bottom boys Wow!then for a real treat try The Stanley Bros. Angel Band Traditional country at its best. many other great tracks from Alison Krauss the queen of country and the Whites with keep on the sunny side,backings are fantastic. This is one CD you won't be dissapointed with

GREAT ALBUM . . . BUT TRY BEFORE YOU BUY, 06 Jun 2002
Let me make one thing clear. "O Brother..." is one of my favourite films of all time. Not only that, but the musical soundtrack is one of its strongest features and stands as a valuable cultural document in its own right. In short, this is an album that anyone who loves country, bluegrass or folk music is likely to want in their collection.

So why, as I write, am I tossing up whether to only give it four stars? The answer is that I'm attempting to review it, not as a collector's item or a socio-historical document but as an album of music for repeated listening in the comfort of your own home. For that reason I'm not going to review the film rather than the album, as some reviewers here have done, because I don't assume that every listener is going to have the movie playing back in their heads as they listen to the music.

Rather, my comments are based on how this album will sound to someone who has picked up on the hearsay, or watched the Grammy ceremony, and is tempted to go out and buy this as a musical compilation. And in that setting, many listeners are going to be disappointed. The fact that a song has integrity, emotion, historical importance or great musicianship doesn't automatically make it great entertainment.

There are some standout contributions: The title song is long-term loveable (although why four different renditions of the tune are needed on the album is a mystery - a couple of the "period" instrumental versions which work well on the movoe soundtrack are somewhat less successful as pure listening music. Alison Krauss and Gillian Welch are as usual faultless. Ralph and the other Stanleys are devastating. But how many times will you want to listen to the 4+ minutes of prison chant that opens the album? Or the squeaky kiddy song (the Peasalls)? Or the ancient ditties like "Big Rock Candy Mountain"? After a couple of spins, you may find yourself reaching for the skip button more than is comfortable.

I'm not really knocking this record - in a sense it's a masterpiece. And it's rightly selling by the millions. But if you haven't seen the film I'd give it a whirl in the listening booth before you part with your cash.

What a discovery, 16 Jul 2008
I like to listen to Jerry Anderson on BBC Radio Ulster, he's really funny (although when my English Nephew was visiting he couldn't understand a word anyone on the show was saying) and he plays nice folk music. I heard the song 'village green appreciation society' a few times on his show, and thought it was brill (I don't remember the Kinks version.) I surfed the net to find who sang it, and came across Kate Rusby - what a discovery! I bought this album on the strength of that one track, and have played it nearly to death already. I like all the songs, as well a loving Kate's accent (I spent two years in Leeds when I was at college, and it brings me back to those happy times.) Buy it. Play it. Love it.

Worth it for the Kinks reworking, 08 May 2008
How can anyone who has heard this album agree with the creature who gave it 1 star? Whilst it's not my favourite KR set, it shines like a diamond in the dross of contemporary music and is worth the purchase price for the kinks rework from Jam & Jerusalem.

Sure to please all folk fans., 01 Mar 2008
This is one of Kate's best albums. In the past she has tended to overload her selections with the same themes, many of them quite despondent. Despite her unfortunate personal problems she has somehow managed to come up with a greater share of "up" songs. It's a policy I hope she maintains.Her voice is as sweet as ever,her production sounds in no way inferior to John McCusker, and she has enlisted a couple of new backing musicians to add to her usual retinue. This has helped to freshen things up.Chris Thile does a lovely harmony (along with Eddi Reader)on High on a Hill, plays mandolin and is joined by the excellent John Doyle on another track. The tracks I enjoy most are her own originals, which is another encouraging sign for the future.The title track has a gorgeous lilt which makes me, at any rate, want to sing along with it every time I play it!
Was a little disappointed with Blooming Heather described here as "traditional".The song is better known as "Wild Mountain Thyme" or "Go Lassie, Go" and was written by Francie McPeake , who I believe was from Belfast.I don't like the male vocal line used either,so this does not replace Sean Tyrrell as my favourite version. The album's closer is the old Ray Davies song " The Village Green Preservation Society" which is every bit as successful as it is surprising,and is an inspired selection.You can't really go wrong buying this album !

TIME FOR A RETHINK, 08 Feb 2008
I've been a fan of Kate's since I bought her early albums including the ones she did with Kathryn Roberts and Equation. However, this is her worst yet, which is perhaps forgivable considering the circumstances of its evolution.

She says herself on the sleeve notes that this album was tough to make and, frankly, it shows. It's a family effort with brother helping out with the production and doing the mixing - which is very patchy. The best track on the album, 'The Streams of Lovely Nancy' is ruined by the intrusion of the now seemingly obligatory brass band while 'Blooming Heather' is quite the worst rendering of this beautiful song that I have ever heard. Far from enhancing the piece, the intervention of operatic tenor, John Hudson, is seriously misplaced.

Kate should review her direction once she's over her obvious distress at the failure of her marriage. A return to her roots would be a good idea as well as getting some much needed professional help in production and mixing techniques.

Given this, I'm sure her next album will signal a return to form from the Barnsley Nightingale.

what a sublime surprise, 25 Jan 2008
I love taking risks with my music don't you? Having heard the calming Village Green Preservation Society and a brief look at all the reviews here I dived in and bought this CD. Five stars! What more can I say. It's a beautiful album and perfect for those mellow days.

Alison at her best, 01 Jul 2008
Alison Krauss I guess is one of those singers you either love or hate. She has a tonal quality that for me epitomises the very best in Bluegrass. This album is no exception. The sheer quality of her voice is at time unbelievable
and whilst it is true she veers away from pure bluegrass - her strength is that she can carry this off with huge credibility. I bought this album not only because I love Alison Krauss - but I heard her wonderful duet with James Taylor of "hows the world treating you?"- and simply had to have it! This is an old song recorded by Elvis in his early days - and hearing Alison and James brought back all those memories of wonderful songs, and meaningful lyrics. I also adore her version of "I'm just a country boy/girl" formerly recorded by Don Williams - but for me Alison nails it!


Very enjoyable. Good music., 20 Nov 2007
This is not a bluegrass album. Whilst Krauss does sing bluegrass especially when with Union Station, she does not restrict herself to bluegrass. This is a collection of songs from different project with some previously unreleased. There are songs from Cold Mountain and O Brother. Her vocals are beautiful. The songs are excellent and varied in style. Highlights include the incredibly sad Jacobs dream. The deserved CMA award winning song with brad Paisley 'Whiskey Lullaby' is powerful. The Duet with Waite on MIssing You works very well. I am not a big fan of Krauss but after this album and the one with Palmer, I am becoming one. This is a very good collection. Recommended.

Update your collection of Alison's music with this great compilation., 10 Aug 2007
This is a lovely album, though quite different from what we normally get from Alison Krauss. Do not expect a bluegrass album, though one or more members of the superb Union Station appear on 10 of the 16 tracks. The lively hoedown 'Sawing on The Strings' is the nearest we get to a bluegrass song, with twin fiddles from Alison and Stuart Duncan. The brilliant Jerry Douglas appears on 6 of the tracks, and I was particularly taken by his lap steel sound on tracks 2 and 16. None of the songs here have appeared on any of Alison's own albums. Some will be familiar to many, however, particularly 'Down To The Valley To Pray' from 'O Brother, Where Art Thou?', sung a cappella with a choir of mostly well-known names billed as the First Baptist Church Choir Of White House, Tennessee. There's also 'Molly Ban (Bawn)' from The Chieftains' album 'Down The Old Plank Road: The Nashville Sessions', the atmospheric 'The Scarlet Tide' and 'You Will Be My Ain True Love' from the film 'Cold Mountain', and 'How's The World Treating You', a duet with James Taylor I first heard on a tribute album to the Louvin Brothers. Also perhaps familiar to some will be Alison's duet with Brad Paisley on 'Whiskey Lullaby', a country hit for Jon Randall, who co-wrote the song with veteran legendary songwriter Bill Anderson. This is one of those typical stone country songs that seem rather maudlin to my UK ears. It has a strong melody and is here sung sincerely and without irony. There are 5 new songs, tracks 1, 2, 3, 4 and 16, all extremely good, which to me make an otherwise very good album into an essential one for any fan of Alison's music. The album starts and ends with 2 songs associated with Don Williams, here given a beautiful, slower reading. Alison's distinctive, expressive voice makes them sound as if they are brand new. The latter, 'Lay Down Beside Me', is the second of 2 duets with John Waite, which work very well. With this song, and the duet with JT you'll be able to sing the harmony lines, as they are so distinctive. In addition to the Don Williams covers, my own favourite track is the wonderful 'Get Me Through December' with some lovely fiddle playing from Natalie MacMaster. A real treat. The accompanying 16-page booklet is very informative and gives all track details.
A worthy collection, in my view, which though quite varied, hangs together well. With 16 tracks totalling over 67 minutes, it's very good value too.

Disappointing, 07 Aug 2007
I am probably at odds with most AK fans but this to me is a disappointing album. AK continually tries to straddle bluegrass with mainstream country. She has a divine voice and is an accomplished fiddle player and when teamed with Union Station, is there really a better group of musicians on the planet? But this album is another attempt to project her into mainstream country or even crossover and like previous solo projects is neither fish nor fowl. I find her solo output forced and cloying. She deserves to be recognised as a leading lady of country music but I have listened to this album once and am unlikely to do so again.

wonderful, 03 May 2007
If you are already a fan of Alison Krauss this album is a must have. It includes songs which cannot be found on her other albums and comprises of duets with other artists and songs off soundtracks. Soft and melodious for the most part this is a wonderful album to just sit back and relax to.
That said, you don't need to be a fan of hers to enjoy this! As long as you have some appreciation for country music and the various themes they tackle this album will appeal to you.

Simply beautiful, 14 Jun 2004
Alison Krauss has one of the beautiful voices in modern music. But this album shows Union Station to be so much more than her stunning vocals. The stand out feature of this album is the musicianship of all members of the band. The addition of jerry douglas dobro has added a new layer to their compositions. This album is simply a must.

Simply superb, 22 Mar 2004
Alison Krauss & Union Station are paving the way in modern country/bluegrass music, and are setting milestones as they go. There's something about this group that is just electric. I guess it's the way they mix traditional styles and songs (in the form of 'Momma Cried' and 'The Boy Who Wouldn't Hoe Corn') with modern music influences (shown in 'Let Me Touch You For A While').

This album is perfect for anyone who is new to country music, or just for those who want to hear some of the most beautiful singing and most perfect playing you'll ever hear. It's no wonder that this album gained platinum in a matter or months, and this band has earned dozens of awards. They deserve every single one. Anyone who buys this album will certainly not be disappointed.

My new favorite, 02 Mar 2004
Well this album is certainly my new favorite. The clarity of Alison's voice is exeptional. All of my friends have insisted on getting a copy since I played it to them and they are all well and truly hooked. I've never been a blue grass / country fan but this album has certainly converted me and I'm looking for more of the same. I just can't get enough.

Lost and found, 09 Jan 2004
Oh what a delight! I'm no out and out Bluegrass or Country fan, however I love Ry Cooder and if you love him you'll love this album.
It is a superb album and even my eldest son, a purist when it comes to rock, country blues and the like is enthusiastic about it.
Alison has a voice so sweet yet so strong and clear that it raises the hackles to hear it. It is an irony that she is seen mainly as a backing musician and vocalist when her voice is clearly superior to that of the person she usually backs.

Apart from the odd track I would not recommend her early work as much of it is schmaltzy, anodyne country ballad but with this album she has returned to her Appalachian/Bluegrass roots. It is a tour de force.

A complete classic, 13 Jan 2003
I am so pleased I bought this record.
I saw this band on TV, having inadvertently tuned into the Country Music awards late one night. The first act I saw perform live on stage was Alison Krauss and Union Station. They played Lucky One, I listened and was hooked! Amidst the glitz and pretence inherent with American awards ceremonies shone this band as one true, honest and highly skilled. Shining also was their modesty with Alison Krauss capturing my attention from the first note.

I bought the album for my girlfriend. A treat which goes up and down in tempo and style yet maintains its sheer quality throughout. Its one of those albums you end up showing off to all your friends because you discovered it first!

Everyone I've played it to have also loved it and have since asked me for its title...they want it!

I think you would have to be an individual of little heart or soul and lacking almost completely in personality to not like this record.
The ballads are instantly adorable whilst the harder edged bluegrass sounds are distinct growers.

One that will see the inside of my CD player for many years to come.

A wondeful introduction combining both new and old., 24 Nov 2001
Rough Guide have come up trumps with this wonderful sampler of bluegrass music. Characterised by the banjo, fiddle and mandolin, bluegrass' roots lie in 1930s and in the combination of many European and native American folk styles such as Irish, jazz, blues, East European polka and gospel. The CD contains famous artists such as the amazing Alison Krauss and Union Station, represented here by their classic track "Every Time You Say Goodbye", and older pioneers such as the Country Gentlemen, featuring the banjo ace Bill Emerson. A commendable balance is struck between vocal and instrumental tracks, and between faster and slower tunes. Indeed, the variety of artists is testament to the multitude of styles that the genre enjoys. The scintillating pace of Emerson and Waldron's instrumental "Shiloh" sits comfortably with the bittersweet beauty of Hazel Dickens' voice on the ballad "Hills of Home", as does Red Allen's cheery "Chicken Reel" juxtapose neatly with the sad tale in Lynn Morris' "Mama's Hand", a beautiful, if not tear-jerking, retrospect on a young woman leaving home.

If you enjoyed the soundtrack to the hit film "O Brother, Where Art Thou?", then this CD is a must for you. Approached with an open mind, the listener will find little disagreeable here. The raw beauty of this truly 'unplugged' experience, with its high-class playing and singing will surely not fail to delight any fan of folk and roots music. Let the sound of the Appalachians carry you away to a simpler, happier time!

Stunning, evocative music., 14 Apr 2008
I'm not from the US, my family hail from Kashmir and I was born in the UK, grew up listening to punk rock but WOW! The soundtrack literally drips with the era and place it hails from; every time I hear a snippet I swear I can feel the heat and smell the wheat - so amazing!

Diverse selection of old-time music, 01 Jul 2005
The music here, like the film it provides the soundtrack for, is presumably intended to take us back to the thirties. Several songs from that era are featured along with traditional material that would have been popular then. Recorded mainly with state-of-the-art technology (except for some old recordings that are included and re-mastered), the sound quality is far superior to anything available in the thirties. Several different types of music can be found here - blues, gospel, country and folk - mainly performed by contemporary artists with a deep respect for tradition. I'll just pick out some of them although there are many excellent songs here.

Even Alison Krauss sticks firmly with tradition here - she often brings contemporary influences into her music these days but not here. Alison can be heard here on Down to the river to pray (as a solo singer), I'll fly away (providing harmony vocals for lead singer Gillian Welch) and Didn't leave nobody but the baby (joining Gillian and Emmylou in three-part harmony).

The inclusion of two Carter Stanley songs on a soundtrack such as this is predictable but welcome, with the Whites performing a superb version of the oft-recorded Keep on the sunny side, while the Peasall children (Hannah singing lead with Sarah and Leah providing harmony vocals) are in great form on In the highways. Children's recordings rarely impress me but this track does.

One song here that surprised me (though perhaps it shouldn't have) is Big rock candy mountain. It can be found on plenty of albums of children's songs, when it is invariably presented as an up-tempo song that children can (if they wish) sing along to. Here we get the original 1928 recording by Harry McLintock, who sings it at a more measured, reflective pace, showing that there is more to this song than I originally thought. I still prefer it as an up-tempo song generally but I'm glad I heard this version. I wonder what the Peasall sisters would have done with this song.

The Coen brothers clearly hoped that this soundtrack would provide a resurgence of interest in traditional music. While this soundtrack was a big commercial success, it seems that the majority of people who bought it (and continue to buy it) regard it as something of a novelty. Nashville record labels signed some traditional singers (Elizabeth Cook, though not featured here, is one that comes to mind) but they didn't get enough airplay on American country radio, so such artists were dropped and Nashville returned to its contemporary format. I'm sure that this soundtrack helped to win some new fans for traditional music, but not as many as the Coen brothers would like.

a lovely mix of traditional music, 04 Nov 2003
Performed by some of today's best singers, this multi-Grammy Award winner is a marvelous addition to any country/folk music collection. Some of these artists are at the top of their field, but some will be "discoveries" for most of us, like the beautiful rendition of "Hard Time Killing Floor Blues" by Chris Thomas King, a versatile young man who is versed in many styles, and here sings in the old blues tradition and does it brilliantly.

The highlights for me are: The legendary Ralph Stanley, with his plaintive acappella chant of "O Death", which carries with it all the pain and soul of Appalachia, and the purity of "I Am a Man of Constant Sorrow" by the Soggy Bottom Boys, who consist of Union Station member Dan Tyminsky on lead vocals and guitar, backed by Harley Allen and Pat Enright. For anyone who likes traditional music, you can't get any better than this.
Another acappella gem is "Didn't Leave Nobody but the Baby", with Emmylou Harris, Alison Krauss, and Gillian Welch harmonizing like an angels from another era. Everything on this disc recalls days gone by; there is a refreshing simplicity, and a lot of the songs are filled with faith.

There is exquisite musicianship on this CD, and it is a nice long one at 60'34 minutes. The booklet insert is something I appreciate too; it is a collage of yellowed stained paper on peeling walls, with a terrific layout, and as it says on one of its pages, "Old-Time Music Is Very Much Alive".

oh brother where art thou, 13 Jul 2002
first class traditional country and a bit of bluegrass. represents excelent value for money. so many good tracks its hard to pick one that shines above the rest.listen to YOU ARE MY SUNSHINE by norman blake if you are not tapping your toes then someone has nailed your feet to the floor.then there's I'm a man of constant sorrow-Soggy bottom boys Wow!then for a real treat try The Stanley Bros. Angel Band Traditional country at its best. many other great tracks from Alison Krauss the queen of country and the Whites with keep on the sunny side,backings are fantastic. This is one CD you won't be dissapointed with

GREAT ALBUM . . . BUT TRY BEFORE YOU BUY, 06 Jun 2002
Let me make one thing clear. "O Brother..." is one of my favourite films of all time. Not only that, but the musical soundtrack is one of its strongest features and stands as a valuable cultural document in its own right. In short, this is an album that anyone who loves country, bluegrass or folk music is likely to want in their collection.

So why, as I write, am I tossing up whether to only give it four stars? The answer is that I'm attempting to review it, not as a collector's item or a socio-historical document but as an album of music for repeated listening in the comfort of your own home. For that reason I'm not going to review the film rather than the album, as some reviewers here have done, because I don't assume that every listener is going to have the movie playing back in their heads as they listen to the music.

Rather, my comments are based on how this album will sound to someone who has picked up on the hearsay, or watched the Grammy ceremony, and is tempted to go out and buy this as a musical compilation. And in that setting, many listeners are going to be disappointed. The fact that a song has integrity, emotion, historical importance or great musicianship doesn't automatically make it great entertainment.

There are some standout contributions: The title song is long-term loveable (although why four different renditions of the tune are needed on the album is a mystery - a couple of the "period" instrumental versions which work well on the movoe soundtrack are somewhat less successful as pure listening music. Alison Krauss and Gillian Welch are as usual faultless. Ralph and the other Stanleys are devastating. But how many times will you want to listen to the 4+ minutes of prison chant that opens the album? Or the squeaky kiddy song (the Peasalls)? Or the ancient ditties like "Big Rock Candy Mountain"? After a couple of spins, you may find yourself reaching for the skip button more than is comfortable.

I'm not really knocking this record - in a sense it's a masterpiece. And it's rightly selling by the millions. But if you haven't seen the film I'd give it a whirl in the listening booth before you part with your cash.

What a discovery, 16 Jul 2008
I like to listen to Jerry Anderson on BBC Radio Ulster, he's really funny (although when my English Nephew was visiting he couldn't understand a word anyone on the show was saying) and he plays nice folk music. I heard the song 'village green appreciation society' a few times on his show, and thought it was brill (I don't remember the Kinks version.) I surfed the net to find who sang it, and came across Kate Rusby - what a discovery! I bought this album on the strength of that one track, and have played it nearly to death already. I like all the songs, as well a loving Kate's accent (I spent two years in Leeds when I was at college, and it brings me back to those happy times.) Buy it. Play it. Love it.

Worth it for the Kinks reworking, 08 May 2008
How can anyone who has heard this album agree with the creature who gave it 1 star? Whilst it's not my favourite KR set, it shines like a diamond in the dross of contemporary music and is worth the purchase price for the kinks rework from Jam & Jerusalem.

Sure to please all folk fans., 01 Mar 2008
This is one of Kate's best albums. In the past she has tended to overload her selections with the same themes, many of them quite despondent. Despite her unfortunate personal problems she has somehow managed to come up with a greater share of "up" songs. It's a policy I hope she maintains.Her voice is as sweet as ever,her production sounds in no way inferior to John McCusker, and she has enlisted a couple of new backing musicians to add to her usual retinue. This has helped to freshen things up.Chris Thile does a lovely harmony (along with Eddi Reader)on High on a Hill, plays mandolin and is joined by the excellent John Doyle on another track. The tracks I enjoy most are her own originals, which is another encouraging sign for the future.The title track has a gorgeous lilt which makes me, at any rate, want to sing along with it every time I play it!
Was a little disappointed with Blooming Heather described here as "traditional".The song is better known as "Wild Mountain Thyme" or "Go Lassie, Go" and was written by Francie McPeake , who I believe was from Belfast.I don't like the male vocal line used either,so this does not replace Sean Tyrrell as my favourite version. The album's closer is the old Ray Davies song " The Village Green Preservation Society" which is every bit as successful as it is surprising,and is an inspired selection.You can't really go wrong buying this album !

TIME FOR A RETHINK, 08 Feb 2008
I've been a fan of Kate's since I bought her early albums including the ones she did with Kathryn Roberts and Equation. However, this is her worst yet, which is perhaps forgivable considering the circumstances of its evolution.

She says herself on the sleeve notes that this album was tough to make and, frankly, it shows. It's a family effort with brother helping out with the production and doing the mixing - which is very patchy. The best track on the album, 'The Streams of Lovely Nancy' is ruined by the intrusion of the now seemingly obligatory brass band while 'Blooming Heather' is quite the worst rendering of this beautiful song that I have ever heard. Far from enhancing the piece, the intervention of operatic tenor, John Hudson, is seriously misplaced.

Kate should review her direction once she's over her obvious distress at the failure of her marriage. A return to her roots would be a good idea as well as getting some much needed professional help in production and mixing techniques.

Given this, I'm sure her next album will signal a return to form from the Barnsley Nightingale.

what a sublime surprise, 25 Jan 2008
I love taking risks with my music don't you? Having heard the calming Village Green Preservation Society and a brief look at all the reviews here I dived in and bought this CD. Five stars! What more can I say. It's a beautiful album and perfect for those mellow days.

Alison at her best, 01 Jul 2008
Alison Krauss I guess is one of those singers you either love or hate. She has a tonal quality that for me epitomises the very best in Bluegrass. This album is no exception. The sheer quality of her voice is at time unbelievable
and whilst it is true she veers away from pure bluegrass - her strength is that she can carry this off with huge credibility. I bought this album not only because I love Alison Krauss - but I heard her wonderful duet with James Taylor of "hows the world treating you?"- and simply had to have it! This is an old song recorded by Elvis in his early days - and hearing Alison and James brought back all those memories of wonderful songs, and meaningful lyrics. I also adore her version of "I'm just a country boy/girl" formerly recorded by Don Williams - but for me Alison nails it!


Very enjoyable. Good music., 20 Nov 2007
This is not a bluegrass album. Whilst Krauss does sing bluegrass especially when with Union Station, she does not restrict herself to bluegrass. This is a collection of songs from different project with some previously unreleased. There are songs from Cold Mountain and O Brother. Her vocals are beautiful. The songs are excellent and varied in style. Highlights include the incredibly sad Jacobs dream. The deserved CMA award winning song with brad Paisley 'Whiskey Lullaby' is powerful. The Duet with Waite on MIssing You works very well. I am not a big fan of Krauss but after this album and the one with Palmer, I am becoming one. This is a very good collection. Recommended.

Update your collection of Alison's music with this great compilation., 10 Aug 2007
This is a lovely album, though quite different from what we normally get from Alison Krauss. Do not expect a bluegrass album, though one or more members of the superb Union Station appear on 10 of the 16 tracks. The lively hoedown 'Sawing on The Strings' is the nearest we get to a bluegrass song, with twin fiddles from Alison and Stuart Duncan. The brilliant Jerry Douglas appears on 6 of the tracks, and I was particularly taken by his lap steel sound on tracks 2 and 16. None of the songs here have appeared on any of Alison's own albums. Some will be familiar to many, however, particularly 'Down To The Valley To Pray' from 'O Brother, Where Art Thou?', sung a cappella with a choir of mostly well-known names billed as the First Baptist Church Choir Of White House, Tennessee. There's also 'Molly Ban (Bawn)' from The Chieftains' album 'Down The Old Plank Road: The Nashville Sessions', the atmospheric 'The Scarlet Tide' and 'You Will Be My Ain True Love' from the film 'Cold Mountain', and 'How's The World Treating You', a duet with James Taylor I first heard on a tribute album to the Louvin Brothers. Also perhaps familiar to some will be Alison's duet with Brad Paisley on 'Whiskey Lullaby', a country hit for Jon Randall, who co-wrote the song with veteran legendary songwriter Bill Anderson. This is one of those typical stone country songs that seem rather maudlin to my UK ears. It has a strong melody and is here sung sincerely and without irony. There are 5 new songs, tracks 1, 2, 3, 4 and 16, all extremely good, which to me make an otherwise very good album into an essential one for any fan of Alison's music. The album starts and ends with 2 songs associated with Don Williams, here given a beautiful, slower reading. Alison's distinctive, expressive voice makes them sound as if they are brand new. The latter, 'Lay Down Beside Me', is the second of 2 duets with John Waite, which work very well. With this song, and the duet with JT you'll be able to sing the harmony lines, as they are so distinctive. In addition to the Don Williams covers, my own favourite track is the wonderful 'Get Me Through December' with some lovely fiddle playing from Natalie MacMaster. A real treat. The accompanying 16-page booklet is very informative and gives all track details.
A worthy collection, in my view, which though quite varied, hangs together well. With 16 tracks totalling over 67 minutes, it's very good value too.

Disappointing, 07 Aug 2007
I am probably at odds with most AK fans but this to me is a disappointing album. AK continually tries to straddle bluegrass with mainstream country. She has a divine voice and is an accomplished fiddle player and when teamed with Union Station, is there really a better group of musicians on the planet? But this album is another attempt to project her into mainstream country or even crossover and like previous solo projects is neither fish nor fowl. I find her solo output forced and cloying. She deserves to be recognised as a leading lady of country music but I have listened to this album once and am unlikely to do so again.

wonderful, 03 May 2007
If you are already a fan of Alison Krauss this album is a must have. It includes songs which cannot be found on her other albums and comprises of duets with other artists and songs off soundtracks. Soft and melodious for the most part this is a wonderful album to just sit back and relax to.
That said, you don't need to be a fan of hers to enjoy this! As long as you have some appreciation for country music and the various themes they tackle this album will appeal to you.

Simply beautiful, 14 Jun 2004
Alison Krauss has one of the beautiful voices in modern music. But this album shows Union Station to be so much more than her stunning vocals. The stand out feature of this album is the musicianship of all members of the band. The addition of jerry douglas dobro has added a new layer to their compositions. This album is simply a must.

Simply superb, 22 Mar 2004
Alison Krauss & Union Station are paving the way in modern country/bluegrass music, and are setting milestones as they go. There's something about this group that is just electric. I guess it's the way they mix traditional styles and songs (in the form of 'Momma Cried' and 'The Boy Who Wouldn't Hoe Corn') with modern music influences (shown in 'Let Me Touch You For A While').

This album is perfect for anyone who is new to country music, or just for those who want to hear some of the most beautiful singing and most perfect playing you'll ever hear. It's no wonder that this album gained platinum in a matter or months, and this band has earned dozens of awards. They deserve every single one. Anyone who buys this album will certainly not be disappointed.

My new favorite, 02 Mar 2004
Well this album is certainly my new favorite. The clarity of Alison's voice is exeptional. All of my friends have insisted on getting a copy since I played it to them and they are all well and truly hooked. I've never been a blue grass / country fan but this album has certainly converted me and I'm looking for more of the same. I just can't get enough.