Disco de Alison Krauss & Union Station: “So Long So Wrong”

Sometimes an abundance of talent can be a curse - take Alison Kraus, for example. On one hand, she has bluegrass afficianados (like me) begging her not to give in to the lure of almost certain pop/country superstardom, while the rest of the world is screaming, "Get rid of those hayseeds!"

I've already tipped my hand, so I will tell you that the bluegrass component of this album is about the best that can be heard in the genre's more contemporary incarnation. And while Alison is clearly the star, the boys in the band more than hold their own, both vocally and instumentally. Dan Tyminski is a terrific singer and guitarist - his voice blends superbly with Alison's on "Blue Trail of Sorrow" and particularly "The Road is a Lover," which also features some great train-like bowing from Alison. Banjoist Ron Block takes Scrugg-style picking to a higher level - his driving solo on the title track blows me away every time I hear it. And Adam Steffey's mandolin playing ranks among the best.

What more can be said about Alison's voice? It's clear, emotive, and haunting. My only complaint about Alison these days is that she is growing less and less inclined to cut loose on the fiddle. I've read her statements of getting away from "flashy playing for its own sake," but she's far too talented on that instrument to let it collect too much dust.

For those whom skip over the non-Alison tracks, or complain that the guys sing to much - Alison is following in the best tradition of the original bluegrass bossman himself, Mr.Bill Monroe, who handed over the reigns repeatedly to such (later) stars as Lester Flatt, Jimmy Martin, and Peter Rowan. Alison Kraus and Union Station is a BAND - and a damned fine one at that. I just hope that she doesn't follow the path of the late Keith Whitley, Marty Stuart, Dolly Parton, and Ricky Skaggs (although we got him back), forsaking bluegrass completely.

If you like New Grass or folk, spirited American acoustic, banjo and fiddle, you'll like Alison Krauss. If you don't have anything by her yet, So Long So Wrong is the album to get. I've listened extensively to her albums, and I rate this one the best so far. Excellent selection of melodic numbers. She's never sung better. Her musicians are in very top form.

An outstanding set.

This album has a lot of good things going for it. Alison's voice is as lovely as ever, and some of the songs rank among her very best (e.g., "There is a Reason", "I Can Let Go Now"). The musicianship and production values are excellent throughout, and there are no "weak" or "filler" songs: every performance is top-notch.

So why only four stars and not five? First, after about two weeks of playing this album I noticed that I was consistently programming my CD player to play only the same 6-8 tracks and ignoring the rest. They were all songs that Alison sings lead on--which make up just 8 of the CD's 14 tracks. The rest of the songs are not bad: they're just so overshadowed by Alison's performances. (Like the last reviewer (4/26/99) I too wish that Alison would sing all the songs on her albums.)

It's also annoying how this album bounces back and forth every track or two between slow lovely moving songs and loud "rocking" boisterous ones: just as I'm getting into a mellow mood I'm unpleasantly blasted out of it. This album almost has a split personality: try programming your CD player to play all of Alison's songs (in order) except perhaps #1, then after listening, program it to play the other seven songs (i.e., (#1),2,5,6,9,11,14) and compare the sound, mood, consistency, and continuity of the two sets. See what I mean? Two complete opposites... I think all of the songs sound better and are more enjoyable when played within one group or the other as opposed to when mixed.

I gave Alison's "Now That I've Found You: a Collection" five stars and consider it her best CD. It has all of the strengths and none of the weaknesses I mentioned above. (Of course, it is a compilation album, so one expects more attention was paid to the choice and order of the songs on it.) In the end I think "So Long So Wrong" is a very good and enjoyable CD--just not quite worth five stars.

Argue all you want about genres and "keep faithful to bluegrass" - I don't care about any of that. Diana Krall gets critized all the time for "crossing over". In this case Alison Krauss sings to me, with all her heart. And I for one don't care what she songs- just how.

I love every song, the bluegrass ones and the others; but one in particular is the best song I have ever heard:

This is so pure, just Alison and maybe two guitars, it is stunning! The sonics and sound quality are absolutely top notch but Alison's emotions come through so strongly it brings tears to my eyes.

Not often I am so moved by a song.

Alsion Krausss obviously has high values and it shows throughout her productions which are some of the best in the music industry. I review audio equipment for a magazine and her music stands up to megabuck systems but you will enjoy them on anything down to a boombox!

I made myself a compilation CD of Alison Krauss songs ranging from her first album through New Favorite. Like all compilation CDs, you end up fast forwarding to your favorite songs.

I don't think it's a coincidence that, aside from The Lucky One, I kept fast forwarding to songs that are on the So Long, So Wrong album.

So Long has so many great songs that absolutely melt you. Try cranking the stereo while driving through the rain while listening to Looking in the Eyes of Love, the title song, Deeper than Crying, and Find My Way Back to my Heart.

Little Liza Jane and Looking in the Eyes of Love are amazing songs. My favorite song, though, has only been mentioned once among 33 reviews of this album, but it's one of the prettiest songs I've ever heard. The melody, the lyrics, and that voice! The price of the album is paid for based on the song Happiness all by itself.

What a great album. In my opinion, Alison and the Union Station have never been finer.