Track Listing

Disc 1:

1. Right In Time
2. Car Wheels On A Gravel Road
3. 2 Kool 2 Be 4-Gotten
4. Drunken Angel
5. Concrete And Barbed Wire
6. Lake Charles
7. Can't Let Go
8. I Lost It
9. Metal Firecracker
10. Greenville
11. Still I Long For Your Kiss
12. Joy
13. Jackson
14. Down The Big Road Blues
15. Out Of Touch
16. Still I Long For Your Kiss

Disc 2:

1. Pineola
2. Something About What Happens When We Talk
3. Car Wheels On A Gravel Road
4. Metal Firecracker
5. Right In Time
6. Drunken Angel
7. Greenville
8. Still I Long For Your Kiss
9. 2 Kool 2 Be 4-Gotten
10. Can't Let Go
11. Hot Blood
12. Changed The Locks
13. Joy

Product Details

• Amazon Sales Rank: #27570 in Music
• Released on: 2006-10-31
• Number of discs: 2
• Format: Original recording remastered
• Original language: English
• Dimensions: .36 pounds

From Amazon.com
This 1998 Grammy-winning release--Lucinda Williams's popular breakthrough--certainly merits the double-disc "deluxe edition" treatment. And it's hard to find significant fault with anything here: the remastered version of the original album, the second-disc live performance from that year featuring guitarists Kenny Vaughn and Bo Ramsey, and the smattering of outtakes (highlighted by a slower, sadder version of "Out of Touch" than the one Williams ended up releasing). Yet the set misses a glorious opportunity to document one of the more laborious (and notorious) recording projects, one that saw Williams switch cities, studios, and producers three times before she was satisfied with the results. And while the results confirm her judgment, fans would likely find it fascinating to hear a lot more takes from the original Austin sessions (featuring accordion master Flaco Jimenez and keyboardist Ian McLagan) or outtakes from the Nashville sessions with producer Steve Earle, before Williams overhauled the project in Los Angeles with Springsteen keyboardist Roy Bittan. Such a set could have put a revelatory spotlight on the creative process that resulted in an album widely regarded as Williams's masterpiece; instead, this release is more like souvenir snapshots. --Don McLeese

Amazon.com essential recording
Lucinda Williams makes this whole music thing seem so simple: Write in plain language about the people and places that crowd your memory; add subtle flavors of a mandolin here, a Dobro there, perhaps an accordion or slide guitar; above all, sing as honestly and naturally as you can. Of course, it took her six years to achieve this simplicity, an amazing achievement considering the number of knobs that were turned. Her exquisite voice moans and groans and slips and slides--she delivers a polished tone in a coarse manner. On the superb "Concrete and Barbed Wire," soft acoustic guitars are punctuated by electric slide, accordion, mandolin, and Steve Earle's harmony. Williams's deeply personal stories are matched with bluesy rumbles, raunchy grooves, and plaintive whispers. The entire Deep South is reduced to a sleepy small town filled with ex-lovers, dive bars, and endless gravel roads. --Marc Greilsamer

Chronique amazon.fr
Cet album aura projeté Lucinda Williams à sa juste place, en tête de tous les charts de country alternative l'année de sa sortie en 1998. Pourtant, en termes de médiatisation, Lucinda n'aura pas fait davantage pour celui-ci que pour les quatre précédents. Ce n'est qu'un juste retour des choses. Depuis 1979, la chanteuse-guitariste la plus bouleversante du sud de l'Amérique n'a cessé d'écrire des chansons qui touchent au coeur. C'est cette voix blessée, ce sont ces suites d'accords en apesanteur, naturels et évidents, et c'est toujours une bande de musiciens dévoués à la dame, à l'image du très inspiré guitariste Gurf Morlix qui économise ses notes pour livrer les plus exactes d'entre elles au détour d'un refrain. Après il y a les histoires, souvent désespérées sans être jamais résignées. Lucinda Williams, qui semble vivre dans un univers accidenté, entourée de plus fragiles qu'elle encore, n'a pas de rival(e) pour exprimer ces solitudes et ces douleurs. Lorsqu'on lit ou que l'on entend ses mots, le ciel s'assombrit et l'émotion serre la gorge. Pourtant on continue à écouter car on croit instantanément à ces chansons et on veut en connaître la suite. Avec les mots les plus simples, une façon de construire des phrases comme si elles avaient été faites pour ces mélodies-là, Lucinda Williams possède le génie des plus grands et a la classe des seigneurs. Cet album s'impose comme l'une des pièces majeures parues dans le dernier quart de siècle. --José Ruiz