Junior Brown Albums (7)
'Live at the Continental Club: The Austin Experience'
Release Date 9/27/2005
Tracks 12
Label Telarc
See Album Tracklist and Review
What The Critics Say
If Junior Brown were going to record a live album anywhere, it may as well be at the Continental Club in Austin, TX; Brown played a five-year Sunday night residency there in the 1990s that helped launch the maverick picker into the national limelight, and if there was ever a town made to embrace Brown's wild fusion of country, rock, surf, jazz, and anything else that could make its way through his fingers onto his "guit-steel," it's the Texas capitol that's also one of America's greatest cities for all sorts of live music. Brown and his band made their way back to their old stomping grounds for a two-day recording party in April 2005; 52 minutes' worth of the results are collected on Live at the Continental Club: The Austin Experience, and this disc captures Junior in typically dazzling form on his "guit-steel." Brown is a casually masterful picker who can seemingly excel in any style he chooses, and from the fast-stepping honky tonk of "I Hung It Up," the instrumental rock showcase of the closing medley, and the norteño stylings of "Juan Charasquado" (with the great Flaco Jimenez sitting in on squeeze box), Brown burns with flash and melodic substance from front to back on this disc. This guy knows how to deliver the goods, and the wildly enthusiastic crowd here didn't need to be enhanced for this release -- this was obviously a show worth seeing, and the results are manna from heaven for guitar freaks. If this album has a flaw, it's that Brown appears to have the not unknown Achilles' heel of not singing and playing especially well at the same time; while his guitar work is sterling throughout, the first half of the album finds Brown sounding just a shade flat in the vocal department. But if you're a fan, chances are you come to hear Junior play more than sing, and on that scale The Austin Experience thoroughly satisfies. ~ Mark Deming, All Music Guide
What The Critics Say
Other than Junior Brown's label affiliation, little else has changed on the singer/guitarist's sixth album and first in four years. Honky tonk, rockabilly, and the rich sound of Bakersfield country are leavened with a healthy sense of humor ("Two Rons Don't Make It Right," "Where Has All the Money Gone?"), played with Brown's custom-made 12-string "guit-steel," and sung in his distinctive baritone. Side trips into lounge-ish jazz ("You Inspire Me"), hard rock ( perhaps not an entirely necessary cover of Hendrix's "Foxey Lady"), and slow blues (an album-closing ten-minute "Monkey Wrench Blues") seem like desperate attempts to show how eclectic he is. They might be live showstoppers, but just don't blend in well with the rest of the disc's more countrified approach. Much better is "Jimmy Jones," a classic, laconic, mostly spoken story-song about a brother who wanders off to his death in war. The horn-fueled jump blues swing of "Hill Country Hot Rod Man" is another diversion, but this one seems more natural and is an excellent forum for Brown's guitar pyrotechnics. A little too spotty, especially in its schizophrenic last quarter hour, the album is an adequate representation of the different styles that define Junior Brown. The pacing doesn't support his talent, making this a frustrating if somewhat enjoyable listen that is probably better appreciated after you have seen him live. ~ Hal Horowitz, All Music Guide
What The Critics Say
The quirky country and roots rocker with the self-fashioned "Big Red" double-necked steel guitar always seems like he's got his tongue in his cheek, whether he's doing a travelogue tale by Jerry Hubbard ("Guitar Man") or a hilarious spy romance fable ("Cagey Bea"). Brown and his extreme tenor have their sweeter, romantic side in full bloom here as well ("Our First Bluebonnet Spring"), and it's clear he has a penchant for classic Southern sounds like the ragtime tune "Riverboat Shuffle." He complements a mix of fast-paced and gently laconic originals with a folksy reading of a tune written by his idol, Ernest Tubb ("Kansas City Blues"). The listener might be so riveted by Brown's voice, attitude, and lyrical dramas that he or she might miss another of the album's consistent joys -- his potent electric guitar jamming, used well as harmony and in solo spots. ~ Jonathan Widran, All Music Guide
What The Critics Say
Just as much fun and as satisfying as he always is, Junior Brown once more gits gone with all the energy and punch that has come to be expected of this hardcore honky tonker. While the title cut is good, he really revs things up on the all-instrumental "Peelin' Taters" and "I'm All Fired Up." "Stupid Blues," "Just a Little Love" and "Read 'Em and Weep" display the interesting blend of Brown's own Texas swing/Bakersfield/honky tonk brand of country & western music. For a little spice, Junior adds a cover of the Elvis hit "Rock-A-Hula Baby" and the Hunter/Vincent tune "(I'm Just) Looking for Love." As always, Tanya Rae provides the complementary backing vocals that make the Brown sound so unique. One of traditional country music's favorite good ol' boys, Junior Brown hits the nail directly on the head once again. ~ Jana Pendragon, All Music Guide
What The Critics Say
On Semi-Crazy, Junior Brown's third full-length album, the suit-and-tied Texas singer's clever lyrics, Ernest Tubb-like voice, and virtuoso guitar playing (on his custom-made, double-necked "guit-steel," which allows him to switch quickly between picking and steel playing) are once again intact and on the mark. Semi-Crazy may not bowl Brown fans over immediately -- he offers no new twists as either a writer or player. On the other hand, because Brown is one of country music's most stunning guitarists (imagine Ornette Coleman crossed with Speedy West) -- not to mention possessing a truly original sound -- it's hard not to fall for the classic Brown sound of "I Hung It Up" (a standout for the guitar work), "Gotta Get Up Every Morning," and the fun-loving title track (his duet partner, Red Simpson, penned Brown's earlier song "Highway Patrol"). ~ Kurt Wolff, All Music Guide
What The Critics Say
Junior Brown's rumbling, strikingly deep voice, tasty electric and steel guitar playing, and splendid honky-tonk and Western swing songs have made him a sensation in country circles. There's nothing phony or clichéd about Brown's music; this is the genuine, untutored, undiluted article. Brown can sing tunes requiring sincerity, ache or irony with equal flair. The CD's 12 cuts include the nearly 12-minute "Guit-Steel Blues," and a sharp cover of Hank Garland's "Sugarfoot Stomp," and the bittersweet "Doin' What Comes Easy to a Fool" and "Holding Pattern." Brown is as vital and refreshing as early John Anderson or Randy Travis. ~ Ron Wynn, All Music Guide
What The Critics Say
Brown's debut deck shines like gold with standout original material like "They Don't Choose to Live That Way," "My Hillbilly Hula Gal" and "My Baby Don't Dance to Nothing but Ernest Tubb" being particular noteworthy. Possessing a voice that will curl the hair on the back of your neck while picking both single-string picking and slide stylings on his twin neck 'guit-steel, ' this is a mighty-talented fella, neo-traditionalist or not. ~ Cub Koda, All Music Guide
