I have the debut Junkies album which I didn't care for.
This is not that Junkies.
I like this.
Unfortunately there are no links.
Grade - 1.8
released Feb 15th, 2011
from all music
Although it didn't originally have anything to do with their sound, the Cowboy Junkies' name wound up seeming pretty accurate: their music was grounded in traditional country, blues, and folk, yet drifted along in a sleepy, narcotic haze that clearly bore the stamp of the Velvet Underground. The vast majority of their songs were spare and quiet, taken at lethargic tempos and filled with languid guitars and detached, ethereal vocals courtesy of Margo Timmins. Over the late '80s and '90s, the group recorded a succession of critically acclaimed albums that found favor in the alternative rock community.
The Cowboy Junkies were founded by guitarist/songwriter Michael Timmins and bassist Alan Anton (born Alan Alizojvodic), who first played together in a Toronto-based band called the Hunger Project in 1979. They later moved to the U.K. and played with an avant-garde instrumental outfit called Germinal, but eventually grew weary of the group's style and returned to Toronto in 1984. They started jamming with Timmins' brother Peter on drums, and in 1985 they recruited a vocalist in sister Margo, at the time a social worker who'd never sung publicly before. Dubbing themselves the Cowboy Junkies simply because the name had a ring to it, they formed their own independent label, Latent, and released their debut album, Whites Off Earth Now!!, in 1986. Featuring only one original song, the album was recorded using only one microphone, and although it was initially available only in Canada, it helped them land a major-label deal with RCA. Their first widespread release was 1988's The Trinity Session, which was recorded inside Toronto's Church of the Holy Trinity in the span of one night -- again using only one microphone. The Trinity Session became a cult hit, earning rave reviews from critics and substantial college radio airplay for tracks like "Misguided Angel" and their cover of "Sweet Jane."
Now an underground sensation, the Cowboy Junkies decided to concentrate more on Michael Timmins' original material for the bigger-budget follow-up, 1989's The Caution Horses. The album didn't cause quite as much of a stir, although it helped maintain their cult fan base. Released in 1992, the even more countrified Black Eyed Man found Timmins settling more comfortably into his songwriting voice, which set the stage for 1993's Pale Sun, Crescent Moon. Hailed as their finest effort since The Trinity Session, the record bore more influence from rock and blues, and returned the Junkies to critics' darling status. However, it also proved to be their final album of new material for RCA. As the band left for Geffen, RCA issued the two-disc live compilation 200 More Miles and the best-of Studio. Meanwhile, the Junkies debuted for Geffen in 1996 with Lay It Down, a relatively high-volume effort compared to their shimmering early work.
Following 1998's Miles from Our Home, the Cowboy Junkies parted ways with Geffen and revived their own Latent label. Their first release was the 2000 live album Waltz Across America, which was initially available only through the band's website. They followed it a year later with an album of all-new material, Open. One Soul Now followed in 2004. In 2005, the group released Early 21st Century Blues, a collection of covers -- and two originals -- that dealt with "war, violence, fear, greed, ignorance and loss." Recorded in just five days, it harked back to The Trinity Session. Later that year, the band was featured on the Beatles tribute album This Bird Has Flown, which was produced by Jim Sampas and featured various artists including the Donnas and Dar Williams.
Meanwhile, the band was busy collaborating with visual artist Enrique Martinez Celaya on a commemorative art book. Released in 2006, Cowboy Junkies XX was a retrospective piece intended to celebrate the band's 20th anniversary. It featured original watercolors by Celaya, handwritten song lyrics, and photographs gathered from the bandmembers' personal collections. The band released a new album called At the End of Paths Taken in the spring of 2007, followed several years later by the announcement of the so-called Nomad Series, an 18-month cycle that aimed to produce four albums built around common (but separate) narratives. Renmin Park: The Nomad Series, Vol. 1 was released in 2010. Following closely on its heels was 2011's Demons: The Nomad Series, Vol. 2, a covers album featuring songs originally written by the late Vic Chesnutt, the band's longtime friend and occasional tourmate.
When a band's been making records for as long as the Cowboy Junkies (26 years by the time of Demons' release), it's easy to get stuck in a rut if you don't make a concerted effort to keep things fresh. That's probably at least part of the reason the stalwart Canadian folk-rockers conceived their Nomad Series, whose first volume came out just eight months before the second, Demons. The idea was to release four albums within 18 months, each of which would represent a thinking-outside-the-box approach to music making for the band. "Renmin Park" was inspired by guitarist/songwriter Michael Timmins' stay in China, and includes covers of songs by Chinese artists, as well as original Chinese-inspired work. Demons brings things closer to home, and is basically a tribute album to singer/songwriter Vic Chesnutt, who died in late 2009. The Cowboy Junkies cover tunes from all across Chesnutt's career, from early nuggets like "West of Rome" to "Flirted with You All My Life," which hails from the last release of the songsmith's lifetime. Demons presents an alternate universe in which Michael Timmons' songs have mysteriously become considerably more caustic and cutting, or one in which Chesnutt abjured his own creaky-voiced renditions of his material in favor of making the honey-voiced Margo Timmins his mouthpiece. Whichever way you look at it, it's a provocative proposition, and certainly one that requires bringing a fresh pair of ears to the veteran band's output here. At times, the extra grit quotient in Chesnutt's songs seems in turn to inspire a tougher approach on the part of the Junkies, but more often, the late songwriter's quirky, agreeably crooked structures are given a fulsome, flowing quality that would probably never even have occurred to Chesnutt as a possibility.
1 Wrong Piano Chesnutt 4:30
2 Flirted with You All My Life Chesnutt 3:46
3 See You Around Chesnutt 5:53
4 Betty Lonely Chesnutt 5:00
5 Square Room Chesnutt 4:56
6 Ladle Chesnutt 4:35
7 Supernatural Chesnutt 3:37
8 West of Rome Chesnutt 5:06
9 Strange Language Chesnutt 2:51
10 We Hovered with Short Wings Chesnutt 4:46
11 When the Bottom Fell Out Chesnutt 2:53