Tom Rush Albums (8)
What The Critics Say
It's hard to believe that What I Know marked the first Tom Rush studio album in 35 years when it was released in early 2009. But it's true -- although he released quite a bit of studio material in the first decade of his career, and has remained active as a touring musician since the mid-'70s, this is the first studio product to emerge since then. "Sounds like he's never been away" is the kind of cliché you hear often when these projects appear, but in Rush's case, it seems more appropriate than it does in most such situations. His vocal style remains the same -- good-natured, friendly, and intimate, with a tinge of weary wistfulness. Thankfully, the production, like Rush himself, is low-key and, though grounded in folk and country music, has full and varied instrumentation. While there are celebrity cameos in the shape of guest harmony vocals by Emmylou Harris, Nanci Griffith, and Bonnie Bramlett on a track apiece, those are sympathetic complementary contributions, not parts roped in to grab attention. The songs are a comfortable mix of Rush originals (only five; he's never been the most prolific writer), the traditional song "Casey Jones," and nine choices of outside material. The most renowned of the other writers being Eliza Gilkyson (who composed "Fall into the Night"), and the most surprising choice of material, the CD-closing "Drift Away," Rush rearranging that '70s soul hit into something suitably folky and reflective. The good-natured riding-into-the twilight feel of this record might guarantee it won't cause any earthquakes, but Rush has never been that kind of artist, and this record is a solid continuation of the mood he's largely followed all his musical life. ~ Richie Unterberger, All Music Guide
What The Critics Say
A candid and charming collection of songs that glisten as beautifully as a clear mountain stream. Singer/songwriter/poet Tom Rush had a wonderful idea in mind for a concept album, working with music business greats Arthur Gorson and Paul Harris to blend the best of the time period's songwriters. The effort results in a splendid achievement of emotionally and lyrically gripping material. Taking advantage of his resonant tenor voice and the majestic talents of a stirring crew of musicians, Rush performs wistful and ethereal versions of some of his favorite songs. Material selected includes deeply lyrical tunes such as Joni Mitchell's "Tin Angel" and "Urge for Going," and romantic songs like James Taylor's "Something in the Way She Moves." The album, titled The Circle Game, features Mitchell's radio hit single of the same name. Certainly during the '70s this album was marketed well and fared with great success among the listening public, inviting Rush into an elite group of solo singer/songwriters of the decade. Just to prove to the world that he is no fluke himself when it comes to arranging and composing, Rush succeeds with two beautifully crafted works of his own, masterfully woven and spun on the acoustic guitar, along with an endearing work of lush production featuring the brilliant efforts of conductor Paul Harris and orchestra. A must-listen for those who are sincerely curious and are seeking a good singer/songwriter talent from this period. ~ Shawn M. Haney, All Music Guide
'Live at Symphony Hall, Boston'
Release Date 6/5/2001
Tracks 14
Label Varese
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What The Critics Say
Returning to covering other people's tunes, Tom Rush's main strength, Ladies Love Outlaws plunges the listener full-tilt into the country-rock sound which so many were finding in the mid-'70s. Included here are Guy Clark's "Desperados Waiting for a Train," Lee Clayton's title track, and a stunning redo of Rush's own "No Regrets" helped along by the likes of the Eagles and Carly Simon on backup. But the best is saved for last, where Rush covers Bruce Cockburn's "One Day I Walk," showing that he hadn't lost his touch. A bit rough in places, but well done for the most part. ~ James Chrispell, All Music Guide
What The Critics Say
Named after the county where he resided, Merrimack County is also the first Tom Rush album which didn't show any ground gained. It is a little less than what fans would expect, but it is still a fine effort. Perhaps by including mainly originals instead of interpretations of others' tunes, Merrimack County is a bit of a letdown. A minor effort from a major star. ~ James Chrispell, All Music Guide
'Wrong End of the Rainbow'
Release Date 1/1/1970
Tracks 10
Label Columbia
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What The Critics Say
Adding four original compositions to the mix helped Tom Rush gather even more acclaim with Wrong End of the Rainbow. But it was his covers of "Sweet Baby James" and Jesse Winchester's "Biloxi" that made listeners sigh. More country-rock than previous efforts, nothing here should be forsaken because all cuts merit listening. Again, Tom Rush found the right mix of material and released another solid effort. ~ James Chrispell, All Music Guide
'Take a Little Walk with Me'
Release Date 1/1/1966
Tracks 11
Label Elektra
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What The Critics Say
With side one consisting of full-out rock & roll and side two of the country/folk blues he's best known for, Tom Rush takes the listener on a journey through his life circa 1966. The full out "Who Do You Love" and "You Can't Judge a Book by the Cover" rock mightily, while the classic "Joshua Gone Barbados" shows Rush hadn't lost touch with his folk roots. A fine collection of tunes. ~ James Chrispell, All Music Guide
'Tom Rush at the Unicorn'
Release Date 1/1/1962
Tracks 12
Label Ly Cornu
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What The Critics Say
Originally self-released on Tom Rush's own label (a rare thing for 1962) and later reissued by CBS, Tom Rush at the Unicorn is a warts-and-all live recording of medium fidelity featuring the young folksinger on stage at Boston's leading folk spot, The Unicorn, one of the hotbeds (along with Cambridge's Club 47) of the local folk revival. The 12-track set list is composed entirely of traditional songs, from old familiars like "The Old 97" and "Ramblin' on My Mind" to Woody Guthrie's modern classics "Pretty Boy Floyd" and "Talking Dust Bowl Blues." Rush delivers his material with élan, but in comparison to his later original songs, there's something missing here. Tom Rush here sounds like the collegiate folk fan he was, not the sensitive, nuanced singer/songwriter he would become by the time of 1965's Elektra debut, Tom Rush. Tom Rush at the Unicorn is interesting, but it's juvenilia. ~ Stewart Mason, All Music Guide
