Laura Cantrell Albums (4)
'Humming by the Flowered Vine'
Release Date 6/21/2005
Tracks 10
Label Matador
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What The Critics Say
Laura Cantrell knows and loves good music too well to be a purist, and while her first two albums, Not the Tremblin' Kind and When the Roses Bloom Again, were firmly grounded in her great fondness for country music, she expands her boundaries a bit on her third set (and first for Matador), Humming by the Flowered Vine. While the feel of Humming by the Flowered Vine isn't radically different than her previous work, the sound and arrangements offer some new wrinkles, with producer J.D. Foster and a superb cast of musicians edging Cantrell into an inventive pop direction. The pensive love song "14th Street," a strong but sorrowful reading of "And Still," and the rare Lucinda Williams composition "Letters" all speak of a riskier musical mindset than Cantrell has allowed herself in the past, and the results are beautifully expressive and gracefully executed while quietly bearing a considerable musical weight. Fans of Cantrell's more traditionally oriented work need not fret, as her lovely covers of "Wishful Thinking" and "Poor Ellen Smith" confirm she still has a superb command of classic country styles, and her voice has lost none of its lovely clarity while revealing an even greater emotional force on these sessions. And while Cantrell is a marvelous interpretive songwriter with nearly faultless taste, her originals rank with the album's finest material; "Khaki & Corduroy," "Old Downtown," and "Bees" are all crafted with the wisdom and care of a fine short story. Humming by the Flowered Vine is an album that's a joy to listen to without sounding simple or hollow, and resonates with an evocative beauty comprised of both compassion and intellect; this music easily raises the bar for this gifted artist. ~ Mark Deming, All Music Guide
'Laura Cantrell Live at Schubas 6/7/03'
Release Date 10/5/2004
Tracks 16
Label Emusiclive
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'When the Roses Bloom Again'
Release Date 9/24/2002
Tracks 12
Label Diesel Only
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What The Critics Say
With her debut, Not the Tremblin' Kind, Brooklynite Laura Cantrell quietly made a great little Americana album that earned kudos across the board. The effort also found Cantrell, an award-winning DJ at New Jersey's famed WFMU who knows her way around a record collection, championing tracks by little-known yet top-notch songwriters. Expect more of the same from When the Roses Bloom Again; Cantrell has completely sidestepped the sophomore jinx with a wonderful album that builds upon the strengths of her debut. Listeners may be familiar with the title track (adapted from traditional lyrics) through the Wilco/Billy Bragg collaboration that finally surfaced on the Chelsea Walls soundtrack in early 2002. Cantrell steers away from the rolling drama of that rendering, however, opting instead for a more subtle approach that emphasizes her plaintive delivery and is bolstered by mandolin, fiddle, and stark percussion. And Cantrell's version is just as heart-rending. Cantrell is no vocal powerhouse, but she has found a way -- much like Merle Haggard -- to use her gifts to maximum effect. One hangs on every word and each phrase is a clarion call to sincerity. This album also finds Cantrell once again paying fine tribute to songwriter Joe Flood; the upbeat, Byrdsy performance of Flood's "All the Same to You" is one of the finest tracks here. Just as with her lauded radio show, the listener is in good hands with this album; Cantrell mixes classic country sensibility, pop chops, and a great taste in tunes to stirring effect. ~ Erik Hage, All Music Guide
'Not the Tremblin' Kind'
Release Date 9/26/2000
Tracks 12
Label Diesel Only Records
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What The Critics Say
Laura Cantrell's debut album, Not the Tremblin' Kind, is a mix of originals and covers by little known yet superb songwriters like George Usher, Joe Flood, Amy Allison, and the Volebeats' Bob McCreedy -- resulting in an evocative blend of neo-traditionalist country. As a singer, Cantrell doesn't have the pipes of a someone like Lucinda Williams, but, like Merle Haggard, her clear and simple way with a tale or sentiment leaves the listener hanging on every word. Cantrell's own "Queen of the Coast" tells the story of a female country singer from a bygone era who stands toward the back of a stage while her man basks in the spotlight. (Think Bonnie Owens: The mandolin line even slyly echoes one-time husband Haggard's signature "I Am a Lonesome Fugitive.") The era the song nods to is also expressive of Cantrell's sound, which is of clearly different stock than the high drama of alt-country young lion Neko Case or the good-natured folkyness of predecessor Nanci Griffith. Rather, Cantrell's music echoes a truck-stop jukebox circa the 1950s or '60s and such woman pioneers as Kitty Wells. Also, Cantrell's work as a DJ at famed free-form station WFMU allowed her to cull the finest tracks that crossed her turntable, and her ear for the right tunes to cover is clearly evident. On her heart-piercing take on the Volebeats' "Two Seconds," her plaintive voice is used to excellent effect, driving home the primary sentiment, "Two seconds of your love is all I need of you/two seconds of your time, that's enough to say we're through/two beats of your heart is enough to know we'll never part." Another great cover is Amy Allison's "Whiskey Makes You Sweeter," which Cantrell delivers with the poise of a woman who won't make the same mistake twice -- rather than the sloppy, temporary regret the song might suggest. Solid production by World Famous Blue Jays member Jay Sherman-Godfrey and strong musicianship make this first-class, enduring Americana -- with one foot in the past and an eye towards the future. ~ Erik Hage, All Music Guide
