Blue Rodeo Albums (12)
'Small Miracles'
Release Date 1/1/2007
Tracks 13
Label Warner Music France
See Album Tracklist and Review
What The Critics Say
Two decades down the line, Canadian country/folk-rockers Blue Rodeo don't offer many twists on the band's 11th studio set. Perhaps this rootsy outing is trying to get back to the group's roots after a few albums that experimented, generally successfully, with a bigger production, including horns and a moderate Brit Invasion approach. Some of those touches appear here, particularly on the "Day in the Life" styled psychedelic middle of Greg Keelor's nearly seven-minute "Black Ribbon." But generally this is a guitar based -- both strummed and pedal steel -- straightforward approach that plays to the band's established strengths. Jim Cuddy's upbeat pop/rocker "C'mon" is the album's first single, and his mid-tempo country/folk tunes such as the flowing "Mystic River" are standard issue, but the songs are largely played in what can only be called traditional Blue Rodeo style. There have always been aspects of Buffalo Springfield in the band's sound with Keelor's more moody side taking the Neil Young part as Cuddy's pop stylings incorporate both Stephen Stills' and Richie Furay's nonchalant melodicism. Those elements occasionally seem even more pronounced on this release, especially on Keelor's twangy "Blue House" and Cuddy's lovely "3 Hours Away." Both singer/songwriters are in fine form, both vocally and compositionally, writing some of their finest emotionally packed songs, no small feat this far into the partnership. The rest of the band might as well be hired studio musicians since their backup is competent yet inconspicuous and bordering on faceless. But that's not a problem since they are supporting songwriters as strong and on point as Keelor and Cuddy. The last quarter-hour of the album is bottom loaded with softer, more introspective material including a second version of Cuddy's "3 Hours Away," which leaves the listener with a warm, melancholy vibe. Keelor's "It Makes Me Wonder" is another of his heartfelt songs that builds up from a soft beginning to a full-blown epic. Prodded along by subtle organ and pedal steel, it's the album's most riveting and personal tune. His attempt at bossa nova on "Together" is more snoozy than poignant, but it shows he's willing to move into new musical areas. It's, well, a small miracle that Small Miracles sounds this consistently fresh and inspired coming 20 years after Blue Rodeo's debut. ~ Hal Horowitz, All Music Guide
What The Critics Say
The Canadian band's tenth studio album follows 2002's Palace of Gold, which found Blue Rodeo reinvigorated and ready to occasionally break out of the country-pop-rock mold that they are inextricably linked to. The ostentatious horns and strings of the group's previous release are gone (except for the stray solo trumpet on the closing two tracks), replaced with a British Invasion feel for the opening cuts. But after the twangy guitars appear on the third song, Rodeo play to their strengths. That's not a bad thing, though, as both founding guitarist/vocalists Greg Keelor and Jim Cuddy have crafted some particularly earnest and soulful country-rock that stands with their best work. Cuddy's clean-cut, ageless voice, somewhat similar to Jackson Browne, sounds terrific on strummy ballads such as "Great Lakes," "Rena," "Runaway Train," and the beautiful "I Will," all tunes that will sound familiar to established fans. Similarly, Keelor's "Stuck on You," "Up That Cloud," and "Phaedra's Meadow" glow with his traditional scruffy, moody resignation, highlighted by Paddy Malone's somber tin whistle and Uilleann pipes on the latter. His epic for the album is the six-plus-minute "Tired of Pretending," a somber piece that grows in edgy intensity and volume as it progresses, with Keelor shifting from a whisper to a hoarse howl. It's the opening songs that signal the most distinctive break with Blue Rodeo tradition, as both "Can't Help Wondering Why" and the title track tap into retro British Invasion territory with tough garage rocking results, somewhat like what Tom Petty occasionally plays. Ultimately, though, this is another in a long line of quality Blue Rodeo albums that takes enough chances to keep the band from getting stale while also staying the course. It may not win many new listeners but will please the group's existing admirers, and it provides Blue Rodeo with a handful of tracks that are as powerful and moving as anything in their extensive catalog. ~ Hal Horowitz, All Music Guide
What The Critics Say
After having spent the last few years going over old ground on Greatest Hits and the double live Just Like a Vacation, as well as treading water with the less than stellar (but appropriately named) Days in Between, Blue Rodeo found its stride again with Palace of Gold. Having built their own studio, the bandmembers took the time to record in a comfortable, relaxed manner in which they could workshop tunes at their leisure. This newly found freedom allowed them to experiment with the addition of strings and horns on several tracks, a move they had taken tentative stabs at before. On some tunes, the experiment clearly needed some fine tuning; the moody bossa nova of singer Jim Cuddy's "What a Surprise" borders on lounge, and the slight psychedelia of "Comet" seems half-baked. But ballads like Greg Keelor's soulful "Find a Way to Say Goodbye" and the uptempo "Clearer View" both ring with added depth thanks to the new sonic touches. At their core, the songs on Palace of Gold (at least the best ones) remain close to the group's country-rock core; "Palace of Gold," "Glad to Be Alive," and "Tell Me Baby" all featuring heartfelt singing, jangling guitars, and soaring pedal steel. They could have dropped the gushing "Bulletproof" and still gained some ground. While many longtime fans insist the group reached its high-water mark with the fruitful Five Days in July or Lost Together albums, Blue Rodeo's willingness to move forward while staying true to a good basic sound on Palace of Gold hinted that the group's best days may be yet to come. ~ John Duffy, All Music Guide
What The Critics Say
On this, their eighth studio album, Blue Rodeo continues, quite frankly, pretty much as they always have. This is not necessarily a bad thing, as they produce fine country-rock music, but some new sounds would not be bad either. Principal writers Greg Keelor and Jim Cuddy both released solo efforts since the group's previous studio release (Tremolo, 1997), and while neither solo albums were classics, they did attempt new sounds, especially Keelor. However, they returned to their tried and trusted formula for Days in Between. The playing is tight and professional, and their remarkable harmonies and strong melodies are all present. The problem is that any one of these songs could be on any of their albums, and by the end of this CD all of the tracks begin to sound somewhat too familiar -- no surprises. Fans will not be disappointed, and indeed enthusiasts of the country-rock genre will enjoy this release as well. Yet when all is said and done, one cannot help but feel somewhat disappointed, since the band fails to live up to the potential demonstrated on earlier releases. ~ Aaron Badgley, All Music Guide
What The Critics Say
A somewhat disappointing affair. Blue Rodeo has built their career on their live performances, and some fans might say that their albums (or CDs) have not done them justice. This live collection does not provide the evidence for such reputation. Recorded during their last Canadian tour, this CD (their first "live" release) is more or less a "best of" compilation with extended solos and applause. The extended solos are quite long and drawn out, and songs that are brilliant in their original form sound boring here. Blue Rodeo might have been better served by either releasing a studio compilation CD, or diving into their archive and releasing older live material which had more energy. Also, this is a two-CD set, which is far too long -- a single CD of highlights might have been a better idea. Having said all that, there is some great music on this CD, as Blue Rodeo have written some incredible songs. They have always managed to blend country with rock to come up with their own unique sound. This CD, however, is not the best representation of their music. Fans will no doubt enjoy this, but others would be better served turning to their older, studio releases. ~ Aaron Badgley, All Music Guide
What The Critics Say
The songs on Tremolo were deliberately sprung on Blue Rodeo on the day of recording, in order to ensure spontaneity -- they spent a day working on each song, but not becoming overly familiar with any of it, in order to keep a fresh edge to their performances. And for the most part, it worked -- the result is a technically polished album that retains a good deal of jam-type spontaneity and can rank up there with the very best work of Poco; indeed, this is sort of the studio analog to that group's most popular early-'70s album, Deliverin', achieving similar results in the reverse manner. The sounds range from genial acoustic folk-rock ("Moon and Tree") to more reflective singer/songwriter-type pieces like "Falling Down Blue" to bluesier songs like "Fallen From Grace" and harder, heavier numbers like "No Miracle, No Dazzle," which could pass for Buffalo Springfield on a good day. Other numbers aren't quite as strong, and a few, like "Disappear," run a little too long for their own good; but then there are songs like "It Could Happen to You," with its dazzling wordplay and wonderfully fluid guitar work, which, in an alternate universe, would have been the greatest song ever written by Richie Furay. And "Brother Andre's Heart" bears a startling -- but not unpleasant or excessive -- resemblance to "Wild Horses" as the Flying Burrito Brothers did the song. One must conclude, a triumphant album. ~ Bruce Eder, All Music Guide
What The Critics Say
Blue Rodeo continues to experiment on this release. Opening and closing with expansive mood pieces, it takes a little bit of listening to get into this album. But sandwiched in between lies the real meat of this record. Bluesy ballads such as "Sky" and "Train" are balanced by upbeat poptunes like "What You Want" and "Better Off as We Are." The rockin' Beatles-esque "Get Through to You" shows them in top form. Every song here tends to evoke the pictoral majesty of the Canadian countryside while never sounding hokey. Once you let these tunes seep into your psyche, you'll find there isn't a bum tune in the bunch. Fantastic! ~ James Chrispell, All Music Guide
What The Critics Say
Blue Rodeo's best album -- and the first of a trilogy of brilliant records that would feature the band at its most epic, brave, and experimental (also featuring Nowhere to Here and Tremolo) -- Five Days in July began with Daniel Lanois' advice to the bandmembers that they not be confined by a recording studio, so they dragged their equipment out to Greg Keelor's farmland home and made what is essentially the ultimate "campfire" album. With the exception of the dynamite harmonic cover of Rodney Crowell's "Till I Gain Control Again," the songs have a loose, stoney feel about them -- both Keelor's and Jim Cuddy's works feel like they just kind of organically evolved, which actually makes a whole lot of sense given the circumstances under which they were written and recorded. This is the album that at once solidified Blue Rodeo's position as the main trailblazers of contemporary alt-country and one that became a career-defining benchmark by which all their later work would be measured. The fact that their Small Miracles tour in 2008 was still made up of half of this record should be indicative of its incredible importance in the Blue Rodeo canon. The big hits are here ("Bad Timing," "Hasn't Hit Me Yet," "5 Days in May"), as are some hauntingly famous cameos by Sarah McLachlan ("Dark Angel," "Know Where You Go/Tell Me Your Dream"). With the exception of a few upbeat feel-good numbers along the way, the album is a pretty mellow affair -- a perfect record for perfectly endless listenability. This was the album in which all of Blue Rodeo's artistic and commercial ambitions would come to fruition: to create epic, rootsy, melodic rock; to break through big commercially (in Canada, at least, where they very rightly became huge megastars); and to create for the world new instant classic solid albums -- not just random collections of songs, but the type of flawless album that leaves listeners already breathlessly anticipating what will await them on the next release. Five Days in July is the quintessential and -- along with Nowhere to Here and Tremolo -- defining moment of Blue Rodeo's career to date, and it is proof positive as to why they have remained Canada's all-time greatest band ever since. It would seem an impossible act to follow, if Blue Rodeo hadn't already so effortlessly done so. A bona fide classic, in every sense of the word. ~ Tomas Mureika, All Music Guide
What The Critics Say
Lost Together was easily the best Blue Rodeo album to date. Hit the random button on the disc player and no matter where the laser touches down, you're assured a worthwhile listening experience. Blue Rodeo have built a fortress on the foundation of their previous three outings. The straight pop song "Flying" and ballads "Already Gone" and the epic title track offer added depth and maturity without rehashing previous successes. "Willin' Fool" and "Angels" tackle the progressive elements of Blue Rodeo's second album Diamond Mine and sharpen them to a manic, cutting edge. "Fools Like You" spits out a defense of native rights, Greg Keelor doing his best outraged-Bob Dylan impression. ~ Roch Parisien, All Music Guide
What The Critics Say
Casino is a more pop-oriented album. Blue Rodeo seem to have finally established their fine blend of harmonies and laid-back country-rock à la the Band and Bob Dylan. Produced by Pete Anderson (Dwight Yoakam, Michelle Shocked). ~ Chris Woodstra, All Music Guide
