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A Hundred Miles or More: A Collection :: 1568986874
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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 More Alison Krauss
Lonely Runs Both Ways
Live
Now That I've Found You: A Collection Editorial Descriptions are usually submitted by the manufacturers, publishers and authors. Contact us if you are one of them, and wish to change the above description. |
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Author: Guest
Alison's voice just keeps getting better and better, as does her music! "Whiskey Lullaby" is one of my favorites; my wife and I once listened to it over and over and over again on a 10 hour trip. "Jacob's Dream" is heart-rending. But my absolute favorite is "Simple Love;" the music and the lyrics are simply phenomenal, by itself worth the price of the album! 5 stars is not enough for this song!
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Author: Guest
I am a bluegrass fan, huge bluegrass fan, and I still love this CD. Alison is such an an incredible artist that she can sing just about anything. This is a wonderful collection that showcases her ablility to sing so many different types and styles with that incredible voice.
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Author: Guest
I will give Alison Krauss a million bucks if she will just release a straight-ahead bluegrass album again. Seriously. PLEEEEEEEEEEEEAAAAAASE. Use your resonance. Use your range. PLEEEEEEEEEEAAAAAAAAAASE.
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Author: Guest
Other reviewers have already commented on Alison's angelic voice (an overused but perhaps never more applicable description) and the impressive range she exhibits with it on this album, so I'll not belabor those points, only confirm them. What I find most impressive about this album, and I own just about every CD she's done in her adult career, is the emotional maturity and authenticity she brings to this somewhat eclectic (but never dull) mix of songs. Songs like Jacob's Dream and Away Down The River are powerful enough to bring tears to the eyes of even the most macho marlboro man ("I've jes' got some dust in mah eye, that's all it is!") and You Will Be My Ain True Love is just as haunting and ethereal here as it was at the Academy Awards. There aren't many singers who could eclipse the likes of Sting or James Taylor in a duet, but Alison does so without even breaking a sweat, and that's saying something.
Her work with Union Station has already shown her to be a great artist, but I think she really comes into her own in this collection. I've always had a little bit of a hard time listening to Alison singing about whiskey and heartbreak, the presentation always technically flawless but the authenticity somewhat suspect. I don't have that problem with this collection - there's more than just virtuosity here, there's real emotional depth in her voice and an intelligence of song selection that goes beyond the usual country/pop sensibilities.
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Author: Guest
I had such high hopes for this album before it was showed up. Her previous releases with Union Station were artistic wonders - brilliant musicianship and thoughtful lyrics that required repeated listening to fully understand the complex relationships and stories that were presented. I couldn't wait to hear what they had been cooking up. Unfortunately, they didn't do any cooking on this album and I sincerely hope this is an aberration. I WANT to assume that someone simply gave her some bad advice or pushed her (I like to think kicking and screaming) to release some pabulum and make a quick buck. Until I hear differently, I'll continue to hold out hope that she's in the recording studio with Union Station working on another wonderful album.
The song writing here doesn't hold a candle to "New Favorite" and "Lonely Runs Both Ways" and the performances themselves are pleasant enough (upon repeated listening, about four of the songs on "Miles" are keepers) but they are not the excellent work that I have associated with her in the past. Alison has the capability to sing the most beautiful, clear tone and only occasionally (to good effect) let a breathy tone in. "Hundred Miles" reverses this trend as she over-uses a breathy tone and in doing so lowers herself into the sea of mediocre, but pleasant singers that she previously soared above. Her song choices (please tell me that someone ELSE chose this mess of tunes for this album) are an embarrassment. Boring tunes, with silly or depressing themes (the body count on this album is very high - by the end, multiple children and adults have committed suicide, been killed, or otherwise died) and on many of the songs, I found myself glancing down at the time elapsed on my car's CD player as the music droned on and on (well into 5 minutes on too many).
The best song? "Down to the River to Pray" - recorded years ago before the bad influences who produced this sorry lot got to her. The worst? Probably "Missing You" which is such a shock to the ears when the drums and electric guitar start pounding at the beginning of the track that I had to check the player to make sure I hadn't accidently hit a button somewhere and jumped to a top 40 radio station. What on earth prompted her to record (and then release) such a sell-out? Alison - the lure of popularity is NOT worth it. Please stay true to your artistic roots and never again make this deal with the devil.
P.S. What are people thinking to make a song like "Whiskey Lullaby" such a big hit? I agree that the singing is wonderful and I love both of their voices and the tune itself. But it's all wiped out by the stupid lyrics. Why don't these two people pick up the phone and call each other? What version of what religion has angels singing whiskey lullabies? Who writes the words "put the bottle to her head and pulled the trigger?" I am drawn in when she sings (in previous albums) "let me touch you for a while" or "when you cross over there's no turning back once that burning bridge is gone." THAT's poetry. This is sad, silly junk.
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