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Broken Promises


Price: $20.85 & FREE Shipping on orders over $35. Details
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Audio CD, June 27, 1994
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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Broken Promises 2:59$1.29  Buy MP3 
listen  2. There's No Way To Say Goodbye 3:27$1.29  Buy MP3 
listen  3. Once Again 2:33$1.29  Buy MP3 
listen  4. Ghost Train 3:33$1.29  Buy MP3 
listen  5. The Old Days 2:45$1.29  Buy MP3 
listen  6. Help 2:59$1.29  Buy MP3 
listen  7. If I Don't Miss You 3:15$1.29  Buy MP3 
listen  8. Too Late To Pray 2:34$1.29  Buy MP3 
listen  9. Way Down In Texas 2:38$1.29  Buy MP3 
listen10. The Abyss 3:15$1.29  Buy MP3 
listen11. You're Gone 2:25$1.29  Buy MP3 
listen12. Someone Who Looks Like Me 3:55$1.29  Buy MP3 
listen13. The Baggage Song 4:36$1.29  Buy MP3 

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Frequently Bought Together

Broken Promises + Prairie in the Sky + Old Friends
Price for all three: $58.01

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  • Prairie in the Sky $16.80
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Product Details

  • Audio CD (June 27, 1994)
  • Number of Discs: 1
  • Label: Philo Records
  • ASIN: B0000003UO
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #365,272 in Music (See Top 100 in Music)

Editorial Reviews

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Customer Reviews

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See all 5 customer reviews
Her songs are extremely honest and revelatory.
Jon B. Thomas
Not angry, not vicious, not bellicose, she just conveys great sadness and the shock of feeling the befuddled loss that so often accompanies middle age.
J. C Clark
She also does a very fine version of the Beatles tune "Help".
Alfred Johnson

Most Helpful Customer Reviews

7 of 8 people found the following review helpful By J. C Clark VINE VOICE on November 19, 2002
Format: Audio CD
I don't want to say Mary's voice is an acquired taste; I liked it when I first heard it 20+ years ago. But it is not "pretty", especially these days when the producer and the engineer determine what female singers sound like (and amazingly, they sound so much alike...imagine that!). But Mary is an authentic folksinger, carrying the earth and the wind and the rain in her voice.
This CD is even more challenging than her others. On first listen I thought "Oh my, she's lost the ability to sing." But more time has made me realize that these are different songs, sung by a woman who's experienced more bitterness and disappointment than she should have. Not angry, not vicious, not bellicose, she just conveys great sadness and the shock of feeling the befuddled loss that so often accompanies middle age.
This is not a quickie to be gulped and consumed, rather, like a fine port that contains great pleasure in the strength and acid and pungency, it is to be sipped and savored. Give her a try. No one sounds more real....and she consistently makes other singers sound like the "pop" they are.
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4 of 4 people found the following review helpful By abt1950 on March 26, 2006
Format: Audio CD Verified Purchase
Mary McCaslin and her late husband Jim Ringer were staples of the folk circuit in the 1970s, and , according to many music critics, remain vastly underrated. "Broken Promises," released in 1994, was Mary McCaslin's first album in many years. Although the wait was way too long, the end result is well worth it.

McCaslin's work always combined a feel for the open spaces of the West with an intensely personal sensibility. Her voice and her guitar work were unique, influenced by the acoustic folk tradition, but molding it to suit her own purposes. This is still the case in "Broken Promises. " By no means is this a happy album. It chronicles the breakup of McCaslin's marriage to Jim Ringer, and as such is both bittersweet and introspective. These are sad, wistful songs, but they're not bitter. Instead, they reflect the passing of years as a relationship slowly disintegrates and the singer's attempt to get on with life. These songs may reflect McCaslin's own experience, but, like all great songs, they're universal.

It's hard to pick out favorites, since the songs are all so strong. If I had to, I'd probably pick "Ghost Train," for its haunting metaphor , and "The Abyss." McCaslin's version of the Beatles' "Help" is a revelation. One of her strengths has always been her ability to cover other writer's songs and to wring new meaning out of them. But even as I write this review, I'm listening to the CD and different songs catch my attention.

This is one of those rare albums that reveal something new with every listening.
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1 of 1 people found the following review helpful By Matthew F. Wettlaufer on September 26, 2005
Format: Audio CD
I am very fond of this album--it is introspective and sad, it expresses the losses McCaslin has suffered through the last couple of decades. Her voice is a bit more edgy than it was in her first album, but I think that adds to the impact of what she is singing about. It has the same western feel to it that Way Out West, her first album, had--conveying the Southwest and California, the open spaces, the deserts and mountains--but in this one all of those images are inside/interior--it is a very confessional album (whereas Way Out West was comprised of story telling, like traditional folk songs generally are). This is a much more personal collection of songs.
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5 of 7 people found the following review helpful By Jon B. Thomas on January 18, 2002
Format: Audio CD
I wandered into Portland's Music Millenium several years back when Mary was giving a free public performance along with another gifted traditional singer, Skip Gorman. Initially, I was more taken with Skip. I still like his music quite a bit. However, the quality of Mary McCaslin's song writing and her sincere and endearing voice also captured me over time.
She writes quite honestly and effectively about losing those you love the most. And the pain and loneliness that follow. She does it with compassion and feeling--not with great anger or self-indulgent pity.
She's a fine singer and songwriter that deserves far greater recognition. Her songs are extremely honest and revelatory. Listen and see what you think.
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Format: Audio CD
Okay, okay I have had enough. Recently I received a spate of e-mails from aging 1960's folkies asking why, other than one review of Carolyn Hester's work late in 2008, I have not done more reviews of the female folkies of the 1960's. To balance things out I begin to make amends here. To set the framework for my future reviews I repost the germane part of the Carolyn Hester review:

"Earlier this year I posed a question concerning the fates of a group of talented male folk singers like Tom Rush, Tom Paxton and Jesse Colin Young, who, although some of them are still performing or otherwise still on the musical scene have generally fallen off the radar in today's mainstream musical consciousness, except, of course, the acknowledged "king of the hill", Bob Dylan. I want to pose that same question in this entry concerning the talented female folk performers of the 1960's, except, of course, the "queen of the hill" Joan Baez. I will start out by merely rephrasing the first paragraph from the reviews of those male performers.

"If I were to ask someone, in the year 2008, to name a female folk singer from the 1960's I would assume that if I were to get an answer to that question that the name would be Joan Baez (or, maybe, Judy Collins but you get my point). And that would be a good and appropriate choice. One can endlessly dispute whether or not Baez was (or wanted to be) the female voice of the Generation of '68 but in terms of longevity and productivity she fits the bill as a known quality. However, there were a slew of other female folk singers who tried to find their niche in the folk milieu and who, like Baez, may today still quietly continue to produce work and to perform.
Read more ›
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