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Music CD - Junior Brown: Guit with It
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Music CD: Guit with It
Artist: Junior Brown
List Price: $7.98
Our Price: $4.25
Your Save: $ 3.73 ( 47% )
Availability: Usually ships in 24 hours
Manufacturer: Curb Records
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Average Customer Rating:  
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Tracks:
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1. Doin What Comes Easy To A Fool
2. Highway Patrol
3. So Close Yet So Far Away
4. Sugarfoot Rag
5. My Wife Thinks You're Dead
6. You Didn't Have To Go All The Way
7. Party Lights
8. Names And Addresses
9. Still Life With Rose
10. Holding Pattern
11. Guit-Steel Blues
12. The Gal From Oklahoma
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Binding: Audio CD
EAN: 0715187762220
Label: Curb Records
Manufacturer: Curb Records
Number Of Discs: 1
Publisher: Curb Records
Release Date: 1993-08-24
Studio: Curb Records
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Spotlight customer reviews:
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Customer Rating:
Summary: Great Stuff
Comment: How do you not like Junior Brown? This is classic stuff: Highway Patol, My Wife Thinks You're Dead, and awesome duos and fabulous instrumentals.
It's the whole package. If you're only going to buy one Junior Brown CD, I'd suggest this one.
Customer Rating: 
Summary: Junior Brown's first and some say, still best...read on
Comment: I first became acquainted with Mr. Brown on
Austin City Limits, which at that time (in my
area of the good 'ole US of A was still showing
acts worth watching (Webb Wilder, et, al). I
was blown away watching plunk the strings on
that 'thang' he calls a 'Guit-Steel'! It's so
Country, it's well, Anti-Country! But just to
prove he hasn't strayed too far from the farm,
Junior has Jimmy Rogers original cut as the
closer. I loved it! Pick Up On It!
Customer Rating:
Summary: Even if you DON'T like country music, get it!
Comment: This (debut?) album is possibly the best country-cross-over album since Gatemouth Brown's (no relation, except musically) "Black Jack" and "Makin' Music" duet album with Roy Clark.
Jr. Brown has a pleasant baritone voice, about which he's reasonably modest, and a sense of humor about his material which recalls both Willie Dixon's blues writing and mainstream country writing of the 50's and 60's ala George Jones. Check out "You're Wanted by the Po-lice [pronounced like that, two sylables]. and My Wife Thinks You're Dead".
THEN listen to what's going on instrumentally on the rest of the album, BEFORE you tackle the all-instrumental "Sugarfoot" and "Guit-Steel", because, otherwise, you WILL be picking your lower jaw off the floor. Surf? Hawaiaian? Hendrix quotes? Chet Atkins? Texas swing? Sonny Rhodes? Black southern "sacred steel guitar"? He's got it ALL in the mix there.
The ONLY REAL country album I've listened to repeatedly, in the last decade...
rfgs
Customer Rating:
Summary: "I left country because country left me..."
Comment: Damn if that isn't the TRUTH. Junior Brown is a GOD. A GENIUS. He puts what passes today for "country" to shame. Lately, his recordings haven't measured up to the quality of this or his other, earlier recordings, but so what. This man loves the classics and does very well by them. The fact of the matter is that to truly appreciate Junior you MUST SEE HIM PERFORM LIVE. It is an experience you cannot forget, and once you see him, you MUST see him and hear him OVER AND OVER AGAIN. There are simply no words to describe his blistering guit-steel skills - they have to be seen and felt to be believed. Consider yourself lucky if and when Junior comes to your town. If rocking, roadhouse country is your thing, do WHATEVER it takes to see him!
Customer Rating:
Summary: pull over...
Comment: Who is this madman with the big hat and where did he learn to play like that? What an awesome cd!!! If you ever see him on Austin City Limits, you will be amazed.Country the way it was meant to be.
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Editorial Reviews:
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Most artists playing and staying true to traditional country styles get pigeonholed as retro acts in the 1990s. Junior Brown, on the other hand, is viewed as something fresh and vital. You'd like to think it's because of his appealing baritone drawl, deft songwriting touch, and fleet set of picking fingers, but you just know that it's the Hendrix flourishes and his "guit-steel" creation that make him "relevant" to the contemporary Nashville tastemakers. Either way, Brown's mix of Hawaiian-tinged ballads, honky-tonk weepers, steady shuffles, and boy-girl duets is as potent as country gets in the 1990s. This 1993 effort, his first for Curb, not only showcases his rather formidable guitar technique and wall-shaking voice, but also proves him to be a sneakily clever lyricist, whether being ironic, sarcastic, or honest. --Marc Greilsamer
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