Customer Reviews

Miss Fortune

5 star:		(21)
4 star:		(11)
3 star:		(5)
2 star:		(3)
1 star:		(2)

 

 

A brilliant album. I love Allison Moorer's music but (unless you are an Allison Moorer completist in which case nothing is going to stop you) don't pay the extra [money] for the one extra track on this import version. Bulley Jones is the only extra track, done "live-in-the-studio" at a guess and, though the lyrics are strong, nonetheless comes as a bit of an anticlimax after Dying Breed, one of the most compelling tracks on Miss Fortune and a very appropriate note to end on.

I bought the "extra tracks" version in the UK where it has been released as standard so didn't pay an arm and a leg for it but would advise any US fans who haven't got money to burn to avoid it and get the US version with which, if your tastes anything like mine, you will be well pleased.

Allison Moorer's previous album The Hardest Part completely bowled me over on first hearing. A wonderful album with good songwriting, some beautiful arrangements and a lot of depth to it, but definitely plumbing the darker side of love.

Miss Fortune in many ways carries on where The Hardest Part left off. The songwriting just goes on getting stronger. Listen carefully for instance to the rhyme pattern which works in all three verses of Up This High - clever yet not contrived. The cornerstones of the album are undoubtedly the midtempo ballads which Allison Moorer does so well. The palette is broadened by a greater variety of arrangements, at times reminiscent of the Beatles and also of Glen Campbell at his Jimmy Webb best. And then the range is also broadened to include a handful of more uptempo numbers where RnB influences are beginning to creep in, such as Going Down, modelled on the Stones' Brown Sugar (or even Bowie's Watch That Man). Perhaps no bad thing (such influences haven't done sister Shelby Lynne any harm) but, while they add interest, I'm not entirely sure these numbers work in their own right or fit into the album as a whole. Perhaps just me.

Allison Moorer certainly has a gorgeous voice which is warm and expressive and would grace a rendition of Humpty Dumpty let alone songs of the quality of those on Miss Fortune.

Overall therefore, despite slight reservations expressed above which may disappear on further listening, for me this album rates five stars.

Allison Moorer may have the most powerful, expressive voice in country music, and she has the song-writing talent to back it up. I gave her last album, "The Hardest Part" an ecstatic 5-star review, and would probably give her debut cut, "Alabama Song", 4.5 stars if the system allowed fractions.

Allison has now reached what has been the watershed for good or bad, the make-or-break point in so many recording careers, the famously "difficult" third album.

Make no mistake, it's a good album as every fan knew it would be - the lady's talent, discipline and professional commitment always ensured that would be the case. My only real regret is that (quite understandably in view of the critical timing in her career), Allison has played it a little safe this time. As editorial reviews say, it's closer to conventional Nashville, and I haven't yet found anything on here to compare with the desolate beauty of "A Soft Place To Fall" or the awesome spine-tingling intensity of "No Next Time" (my favourite tracks off the first two albums). Also I miss the traditional bluegrass inflections of her earlier work.

The good news is that there is not a duff track on the album. Allison's blistering voice is if anything on even better form than before, and the soulfulness that set her apart from the Nashville pack seems even further to the front. And the best news of all is that by broadening her appeal at this critical phase Allison has played a good hand for her long-term career. That promises more great work to come, and all the time in the world to pursue a more personal musical vision in the years ahead.

I didn't pay much attention when my daughter initially gave me Alison Moorer's "Miss Fortune" CD. When I first played it, it did not particularly grab me, but on replaying it recently I was struck by several terrific songs. There is such a touch of yearning in her voice as she seeks to "Steal the Sun," a ballad about a perfect night of love and desire that everyone has experienced at sometime in their lives and how she wants it to never end. This is a signature song and worth the price of the CD. Moorer's sense of lost love, another emotion than everyone can appreciate at some level, found in "Cold in California," "Can't Get There From Here," "No Place For A Heart," and "Mark My Word" evoke strong empathies. And her cautionary tale of substance abuse, "Dying Breed," recalls difficult situations I have experienced with friends. Perhaps I'm sentimental, but I'm not sure that's an altogether bad thing. It's far better than the alternative.

There are some of the songs that I didn't especially care for--"Ruby Jewel Was Here," and "Hey Jezebel" come to mind--since they reminded me of Saturday nights in Honky Tonks, but overall this is a very fine album that captures a soul.

I'll agree with some other reviewers here that Allison Moorer is still aeons better than 99.9% of the forgettable pap from Nashville. But this CD just seems to be a little directionless to me; it wanders and meanders but there aren't any standout moments like on her first two albums; no "Soft Place to Fall" etc. that were just stunningly beautiful songs. The sound is definitely more commercial, with some cheesy-sounding strings. Her voice is more restrained; she sounds more like a sleepy torch singer on this one than the passion-bursting virtuoso of her first two albums. I listened to the first two albums over and over for weeks; I listened to this one once, forgot about it for weeks, found it again, and realized I didn't care about it after several more listenings, figuring that the first two albums got better with every listening so this one might too - oh well, no such luck. Your mileage may vary - just listen to some online samples before buying :). Allison Moorer is still an amazing talent, hopefully in the future her music moves back to the twangy, blue-grass-inspired smoky music it used to be.

It seems so many try to capture the country/rock/blues alchemy that Lucinda Williams evokes every time out but few can manage it. Allison Moorer is the real thing. A gorgeous, smoky, full-bodied voice & deft songwriting skill. As with Lucinda, the songs rather defy categorization, but who cares? (Well, radio does, but most radio is beyond clueless.) The first four songs are all standouts, in particular "Let Go" and the deceptively tragic "Ruby Jewell Was Here". "Up This High", "Hey Jezebel", & "Going Down" soar with exuberance, and "Dying Breed" is a chilling & haunting cautionary tale that closes the album.

I haven't yet checked out her earlier albums; if they compare to this, Allison is a rare talent indeed.

"The Hardest Part" (Allison Moorer's previous effort) showed snippets of the change in direction she was already concocting, especially in songs like "Send Down An Angel". (This is the song that had a video with amazing onirical landscapes and even a Gram Parsons impersonator).

With "Miss Fortune" she finally takes the crossover leap that lets her stand a little bit farther from Nashville, and a couple of giant steps closer to Wilcoland & Jayhawkstown. Which is good news, indeed, in these "no-risk-is-better" times. Since I'm definitely not a fan of traditional country music (I'm more into alternative country / no depression stuff), I have to really applaud this decision. Besides, Allison sings here better than ever before, and -- if there's any justice in this world -- she should quickly surpass her sister Shelby Lynne in terms of critical acclaim and record sales.

From a Nashville point of view "Miss Fortune" brings REAL innovation to the table, both lyrically and musically. Stand out moments are "Hey Jezebel", "Tumbling Down", and the poignant, heart-warming "Let Go". Country music never sounded so modern!

Believe me: Not buying this album would be a misfortune.

PS: If you really like Allison's music, try and find "Music for Our Mother Ocean, Vol. 3", a rare various artists compilation album that features her rendition of the Beatles' own "Here Comes The Sun". The CD is worth buying just for this jewel of a cover. Very beautiful stuff.

As the Amazon review implies, Allison Moorer moves away from the traditional sounding country to more contemporary arrangements on her third album MISS FORTUNE, but gives it her own style and makes it her own and distinct. This is honestly one of the best albums to come out of Nashville this year. It encorporates country rock, gospel funk and torch songs in a sound that is hard to define and/or categorize. Still we have the poignant and sharp lyrics that fans have come to expect from Moorer. The opening "Tumbling Down" is brilliant, sad and direct. "Cold In California" asks the lover if they feel the chill from the ill fated relationship, after they've left. Allison to me is like a modern day Dusty Springfield, she has so much resonance and soul in her voice. The upbeat "Ruby Jewel Was Here" is a nice addition, as is the rocker "Hey Jezebel". "Let Go" is a nice mid tempo about not being able to let go, even though you want to. "Steal The Sun" is one of the best performances on the disc, definately a highlight. Other highlights include "Mark My Word", "Dying Breed" and "Yessirree". Check this album out, you won't be disapointed!

I was a bit disappointed in Shelby Lynne's latest album after the grammy award winning "I Am Shelby Lynne" so I was a bit nervous about Allison's latest album to "The Hardest Part" (a must have for alternative country fans). I normally don't listen to country music because I find most of it bland and tacky with its pandering to this newfound patriotic movment that has been sweeping the country since last September. Anyways, I fell in love with Allison Moore's music with her last album "The Hardest Part". I thought that album had much stronger material than her sister's much lauded album as well as has a much stronger voice. I still appreciate Shelby Lynne and her music despite all its flaws. She and Allison are just two of the handful of country singers/bands I will listen to (Kasey Chambers, Lucinda Williams, Ryan Adams, Wilco, and Mary Chapin Carpenter being the other country artists). Much to my delight, "Miss Fortune" did not disappoint me. Allison's vocals are much more restrained on this album and the music has a lot of Beatles influence in them, especially "Cold In California", and "Let Go". On "Ruby Jewel Was Here", Allison's vocals bears a striking resemblence to her sister's voice. I could almost hear that particular song on a Shelby Lynne album. "Miss Fortune" was definitely well worth the wait. I am looking forward to hearing more from Allison Moore as well as her sister Shelby Lynne.

When I think of Allison Moorer, her work on this album is what I will always think of. Attracted by a label when we bought it that said, "Moorer's voice has not been altered in any way in the studio" or something to that effect, we thought it was worth a try. It's gusto stuff, and it put Britney Spears to shame years before they put themselves to shame.