Darden Smith Albums (9)
What The Critics Say
In the 20 years since the release of his debut album, Darden Smith has grown from just another promising modern country artist into a singer/songwriter blessed with an uncommon degree of intelligence, depth, and compassion. Released in 2006, Field of Crows is a few shades lighter than his previous album, Circo, but it remains a musically low-key set that's dominated by subtle textures and aims for a deeper atmosphere over the typical singer/songwriter's guitar-driven arrangements (Roscoe Beck's bass, Steuart Smith's keyboards, and José Galeaño's percussion carry the album's most effective song, "Mary"). It's significant that the album's most upbeat number celebrates "the Golden Age of pain," and the final number, "All That I Wanted," ends with the sound of one side of an argument between two lovers -- Field of Crows is dominated by love songs in which love is rarely a simple or comfortable thing. But Smith isn't wallowing in bad vibes here, just giving listeners an accurate portrait of the playing field of the heart, and "Wide Open," "Satisfied," and "It Takes Two" deal with romance on a grownup's terms when things happen to work out after all. As a singer, Smith knows how to make the most of his lyrics with his rich but limber pipes, and he and producer Stewart Lerman have crafted a fine and expressive piece of work -- Field of Crows is an album from an artist who has only improved with time and is still revealing new sides of his musical personality. ~ Mark Deming, All Music Guide
What The Critics Say
Like the somber black-and-white photos of lonely back roads on the cover, singer/songwriter Darden Smith travels the darker byways of the human psyche. The music seldom escalates above a mid-tempo strum, but these tunes are so beautifully conceived, sung, and arranged that the album never stagnates or seems repetitious. Story songs like "Mill Creek" slither like alligators, building tension through an eerie stripped-down approach that arrives like a slow-moving thunderstorm. He doesn't sing these haunting tunes as much as whispers them into your ear, sounding like secrets that you share with him. Clever turns of phrases like "Make Love So Hard," which can be interpreted in a few ways, and "Shooting Star" (not the Bad Company hard-rocking hit) infuse this music with smart yet subtle impact. Steuart Smith, Kim Richey, Shawn Colvin, Jim Lauderdale, and Lloyd Maines all contribute, but nobody weakens the focus on Smith's gripping, predominantly acoustic tunes. Bleak but hopeful, this is an album made for quiet times and headphones, when the intricate arrangements and intelligent lyrics can be fully absorbed without distractions. Although Maines contributes occasional pedal steel, this is not country. Rather, the marvelous standup bass of Roscoe Beck injects a jazzy yet forlorn feel, taking the music into a more thoughtful space. When a small string section embellishes the gorgeous and poignant "Late Train to London," it lathers the low-key sound in a steamy mist. Similar to some of fellow Austin resident Alejandro Escovedo's work, Circo is a mature, reflective fully realized project from a seasoned musician whose talents are underappreciated. With any luck, this fine album should change that. ~ Hal Horowitz, All Music Guide
What The Critics Say
People whose first exposure to Darden Smith is a listen to Sunflower will be surprised that he began as a country artist. The tone throughout this album is of a modern singer/songwriter -- with a jazz-influenced backing group -- who is very strong at both singing and writing. His lyrics here are lovely, and he has a warm, emotional voice that puts them across with power and delicacy. In particular, "Satellite" is aimed straight at the adult contemporary hit market, with intelligent, wistful lyrics about a lover who will never commit to a permanent relationship. Sunflower has several songs in this vein -- not about delirious first love, but about the long-term consequences of decisions and the twists in relationships. Not surprisingly, such topics tend toward philosophical and poetic sentiments, and Smith delivers them with effortless grace. On "New Gospel," the sentiments are overtly and interestingly religious, with lyrics comparing epiphany to new love, offering the possibility of a whole new set of rules to suit new circumstances. This song is followed by the final cut, the most personal and immediate on the album. "Swept Away" is a catalog of sensual moments with a lover, brief touches and embraces that mean much more than any casual watcher might guess. This song, like most of the rest of Sunflower, is mature, passionate, and thoughtful. Such intelligent material is a rarity in American pop, and all the more welcome for it. ~ Richard Foss, All Music Guide
What The Critics Say
When CBS (now Sony) signed Darden Smith in 1987, they may have hoped they were getting another country-pop singer-songwriter like Rodney Crowell. By the time a couple of albums had suffered undeserved anonymity, however, they may have been hoping for a critics' favorite with a modest commercial breakthrough like John Hiatt. But major labels do not wait forever for even the most promising artist to start exceeding his advances, and with this, his fifth album, Smith is now recording for his manager's indie label. It turns out this is all for the better, artistically, anyway. Darden's well-written songs are sufficiently straightforward enough to answer to any one of several production ideas. A good country producer could take them in a Garth-like direction, and a good rock producer could find another Tom Petty. Instead, Stewart Lerman has assembled a stellar backup unit of relative unknowns -- anchored by bassist Graham Maby from the old Joe Jackson Band, and guitarist Richard Kennedy and drummer Stanley John Mitchell from the late, lamented Drongos -- for a restrained folk-rock treatment that emphasizes the songs. Smith's lyrics cover familiar ground, touching on restlessness, hopelessness, hope, despair, freedom, aging, and, oh, yeah, lust. But he often has unusual ways of putting things, and he sings with conviction. There may not be a place for him on a major anymore, but he continues to grow as a songwriter and performer, and perhaps an audience will find him yet. ~ William Ruhlmann, All Music Guide
What The Critics Say
Little Victories was recorded with pop producer Richard Gottehrer; while far removed from country music, it stands among Smith's most mature and ambitious work. ~ Jason Ankeny, All Music Guide
What The Critics Say
Darden's big-label debut features three cuts off of his Native Soul album. This time the production is better, with strings and extra vocals. Nanci Griffith and Lyle Lovett back him, along with Roland Denney and Paul Pearcy. All of his songs are strong and the playing is dead-on. It's a keeper. ~ Chip Renner, All Music Guide
What The Critics Say
A strong album, not as diverse as Darden Smith, but as good. Contains "Midnight Train," "Frankie & Sue," "Trouble No More," "Fall Apart at the Seams," and the list goes on. With two songs co-written with buddy Boo Hewerdine. ~ Chip Renner, All Music Guide
What The Critics Say
A fine debut album. Nanci Griffith sings harmony vocal on "Two Dollar Novels." Lyle Lovett sings harmony on five songs. This one's a gem. Smith is just breaking out and developing his style. ~ Chip Renner, All Music Guide
