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Country - Verschenen op 1 januari 1998 | Island Mercury

Onderscheidingen The Qobuz Ideal Discography
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Country - Verschenen op 1 januari 2006 | Island Def Jam

Onderscheidingen The Qobuz Ideal Discography
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Country - Verschenen op 24 april 2020 | Highway 20 Records

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Talk about timing! Though she obviously did not see it coming, Lucinda Williams’ latest release perfectly captures the shared experience of a world in the grip of a global pandemic. Early on in "Bad News Blues" she asserts, "Bad news hangin' in the air/Bad new layin' on the ground/Bad news walkin' up the stairs/Bad news all around" and the hues remain bleak later in "Shadows & Doubts": "Yeah these are the dark new days/That much is true/And there are so many ways/To crush you." With much of it set to spare, dirty blues/electric folk backing tracks courtesy of her ace road band led by guitarist Stuart Mathis, her pique and fury make for the most tuneful and best crafted set of tunes in her oeuvre, certainly some of her most heartfelt and direct. Thirty years into building one of the proudest singer-songwriter catalogs in the business, this poet's daughter now feels most comfortable in a couple of predictable songwriting modes. There are slow blues-based songs with choruses of repeated lines like the opener, "You Can't Rule Me," lyrically dense list songs like "Big Rotator" and the occasional midtempo almost rock number like "Big Rotator." Her voice has become more imploring and expressive as her vibrato has departed and her range and timbre have grown into a smoky growl. Williams effectively sing-speaks her way through the spooky, reverb-drenched "Wakin' Up," a frightening moment of realization in a bad relationship. "Man Without a Soul" is effectively, indirectly political. The album's only hopeful moment is the appropriately titled, "Big Black Train," a ballad for the ages where the towering songwriter refuses to yield to hopelessness. Williams, with much left to say, musically mulls these troubled times. © Robert Baird/Qobuz
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Country - Verschenen op 1 januari 2003 | Lost Highway Records

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Country - Verschenen op 29 september 2017 | Highway 20 Records

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In 1992, on the cusp of her 40th birthday, Lucinda Williams recorded a remarkable fourth album: Sweet Old World. A perfect treaty of country rock crossed with blues, which reaffirmed her status of Queen of Americana, a status she would again confirm in 1998 with her masterpiece Car Wheels on a Gravel Road… 25 years later the songwriter from Louisiana had the amusing idea of recording the whole Sweet Old World again, renamed This Sweet Old World for the occasion. Surrounded by guitarist Stuart Mathis, bassist David Sutton, drummer Butch Norton and, on the steel-guitar, the great Greg Leisz (who also worked on the 1992 album), Lucinda Williams allows us to marvel once again at the handling and content of these incisive songs but with a more contemporary sound. With a few alterations to lyrics here and there and changes made in the track listing, this reinterpretation is nicely complemented by a few original titles. © MZ/Qobuz
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Country - Verschenen op 1 januari 2007 | Lost Highway Records

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Country - Verschenen op 14 januari 2014 | Lucinda Williams Music

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Country - Verschenen op 1 januari 2001 | Lost Highway

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Country - Verschenen op 10 mei 2005 | Lost Highway

Lucinda Williams has earned a reputation for her meticulous approach to making albums, but a careful listen to her work suggests that she isn't trying to make her music sound perfect, she just wants it to sound right, and she isn't afraid to spend the extra time waiting for the charmed moment to get caught on tape. This attitude seems to be borne out in her first-ever concert album, Live @ The Fillmore, which manages to sound carefully considered, and a model of "warts and all" authenticity at the same time. Recorded during a three-night stand in San Francisco, the album captures Williams' band in superb form -- Doug Pettibone's guitars, Taras Prodaniuk's bass, and Jim Christie's drums merge into a tight and emphatic groove machine that can match Williams's many moods, whether she's quietly contemplative on "Blue," rocking out hard on "Changed the Locks," or howling the blues on "Essence," while the deeply resonant recording and mix gives them the royal treatment. Williams herself is a slightly more complicated matter here -- her performance is deeply into the spirit, so much so that sometimes her melismatic wanderings and broad phrasing sound like they're verging on caricature. But this is clearly a recording of a performance, and by the time we get to the end of disc two, the broad strokes have coalesced into something quite remarkable; as Williams searches through the nooks and crannies of her songs, you sense she's discovering things that she didn't expect to find, and it's a tremendous thing to hear. Lucinda Williams is an artist who writes from her soul, and she's thoroughly unafraid of letting her passion show when she sings. If that makes for strained technique, it also results in very real art, and this album offers a privileged glimpse of a singular songwriter in full flight. © Mark Deming /TiVo
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Country - Verschenen op 21 augustus 1992 | Chrysalis Records

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Country - Verschenen op 1 januari 2011 | Lost Highway Records

Gezegend zij het tiende studioaanbod van Lucinda Williams. Het album was geproduceerd door Don Was met coproductie van Eric Liljestrand en Tom Overby; die laatste twee produceerden ook Little Honey (2008). Net als zijn voorganger, staat ook deze boordevol gastoptredens, waaronder de terugkeer van Matthew Sweet, Elvis Costello (die een vuige sologitaar speelt op de vijfde track “Seeing Black,” geschreven ter ere van wijlen Vic Chesnutt) verschijnt op een handvol nummers, naast Rami Jaffee en Greg Leisz. De deluxe editie van het album – zowel in fysieke (CD en LP) als digitale vorm – komt met een bonusdisc getiteld The Kitchen Tapes, met daarop de originele rauwe demo’s die Williams opnam aan haar keukentafel. © TiVo
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Country - Verschenen op 30 september 2014 | Highway 20 Records

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Country - Verschenen op 5 februari 2016 | Highway 20 Records

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Country - Verschenen op 1 juni 1990 | Smithsonian Folkways Recordings

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Country - Verschenen op 14 oktober 2008 | Lost Highway

Lucinda Williams has made a career of writing terrific unrequited love songs, shattered ballads, and sexually liberated tomes drenched in blues, country, folk and rock. Since her breakthrough on 1998's Car Wheels on a Gravel Road, she's actually recorded quite regularly; Little Honey is her fourth studio album this decade so far and fifth overall -- in the '90s she released a total of two. Williams throws some more change-ups into the mix this time. For starters, this is the most polished and studied record she's ever made. Produced by Eric Liljestrand and Tom Overby, its sound is utterly contemporary, though its forms are rooted in electric '70s rock as well as her fallbacks on blues and old-school Americana. The set opens with the rollicking "Real Love," with jangling, charging guitars by Doug Pettibone, and Rob Burger on Wurlitzer, and a backing chorus held down by the Bangles' Susanna Hoffs and Matthew Sweet. Its pop/rock bent is tempered by the roiling pace and Williams trademark Louisiana voice. But it's a startling introduction to an album that, while produced with a certain conscious flair, is the most loosely focused of her career in terms of her songwriting. Williams can still write the beautiful cut-time country tunes, such as the ballad "Circles and X's" and the honky tonk "Jailhouse Tears," a fun throwaway duet with Elvis Costello, and a backing chorus that includes Jim Lauderdale. The blues make their appearance on the beautiful "Tears of Joy" and the appropriately titled "Heaven Blues," a song that references her late mother and redemption, with excellent slide work by Pettibone. Greasy, punched up guitar rock is what fuels the sexually charged "Honey Bee," and a cover of AC/DC's "Long Way to the Top" (though her arrangement on the latter doesn't work). There's also the beautiful, but lyrically indulgent, "Little Rock Star" a warning to the unnamed talents who live in the self-made hell of excess. Williams should know. The album's longest cut is "Rarity," a poignantly gorgeous, heartfelt, cough-syrup tribute to an unnamed but very talented peer. It features Hoffs and Sweet, and a lovely gospel horn arrangement by Bruce Fowler. Its languid, lazy pace is atmospheric and draws itself out over eight minutes making for one of the most memorable moments here. Quoting Williams' lyrics out of context doesn't serve for this record, because they are more directly song lyrics than the poetry she's crafted in song form before. Upon first listen Little Honey is quite jarring for all of its textural and production shifts and dodges, but in time it settles into the listener as a mixed collection of decent songs that pack some punch, but no jaw-dropping wallops. The faithful will no doubt enjoy this set, but the novice should look to earlier albums to discover what all the critical fuss has been about these last 25 years. © Thom Jurek /TiVo
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Country - Verschenen op 10 mei 2005 | Lost Highway Records

Lucinda Williams has earned a reputation for her meticulous approach to making albums, but a careful listen to her work suggests that she isn't trying to make her music sound perfect, she just wants it to sound right, and she isn't afraid to spend the extra time waiting for the charmed moment to get caught on tape. This attitude seems to be borne out in her first-ever concert album, Live @ The Fillmore, which manages to sound carefully considered, and a model of "warts and all" authenticity at the same time. Recorded during a three-night stand in San Francisco, the album captures Williams' band in superb form -- Doug Pettibone's guitars, Taras Prodaniuk's bass, and Jim Christie's drums merge into a tight and emphatic groove machine that can match Williams's many moods, whether she's quietly contemplative on "Blue," rocking out hard on "Changed the Locks," or howling the blues on "Essence," while the deeply resonant recording and mix gives them the royal treatment. Williams herself is a slightly more complicated matter here -- her performance is deeply into the spirit, so much so that sometimes her melismatic wanderings and broad phrasing sound like they're verging on caricature. But this is clearly a recording of a performance, and by the time we get to the end of disc two, the broad strokes have coalesced into something quite remarkable; as Williams searches through the nooks and crannies of her songs, you sense she's discovering things that she didn't expect to find, and it's a tremendous thing to hear. Lucinda Williams is an artist who writes from her soul, and she's thoroughly unafraid of letting her passion show when she sings. If that makes for strained technique, it also results in very real art, and this album offers a privileged glimpse of a singular songwriter in full flight. © Mark Deming /TiVo
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Country - Verschenen op 1 januari 2011 | Lost Highway Records

Gezegend zij het tiende studioaanbod van Lucinda Williams. Het album was geproduceerd door Don Was met coproductie van Eric Liljestrand en Tom Overby; die laatste twee produceerden ook Little Honey (2008). Net als zijn voorganger, staat ook deze boordevol gastoptredens, waaronder de terugkeer van Matthew Sweet, Elvis Costello (die een vuige sologitaar speelt op de vijfde track “Seeing Black,” geschreven ter ere van wijlen Vic Chesnutt) verschijnt op een handvol nummers, naast Rami Jaffee en Greg Leisz. De deluxe editie van het album – zowel in fysieke (CD en LP) als digitale vorm – komt met een bonusdisc getiteld The Kitchen Tapes, met daarop de originele rauwe demo’s die Williams opnam aan haar keukentafel. © TiVo
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Country - Verschenen op 1 augustus 1991 | Smithsonian Folkways Recordings

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Country - Verschenen op 20 november 2020 | Highway 20 Records

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Country - Verschenen op 1 januari 2005 | Lost Highway Records