So Long So Wrong

January 1, 1997 | Format: MP3

$0.00
Also available in CD Format
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Product Details

  • Original Release Date: November 30, 1996
  • Label: Rounder
  • Total Length: 48:05
  • Genres:
  • ASIN: B000UDTKJ4
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (80 customer reviews)

Customer Reviews

4.6 out of 5 stars
5 star
59
4 star
12
3 star
8
2 star
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1 star
1
See all 80 customer reviews
The melody, the lyrics, and that voice!
E. Lambeth
Yet, in spite of this, I still find `So Long So Wrong' the best AKUS album overall and the one which can be played most without tiring.
Midasin
I've long been a fan of Alison Krauss and her band, Union Station.
Mark J. Koenig

Most Helpful Customer Reviews

101 of 107 people found the following review helpful By Mark J. Fowler VINE VOICE on June 24, 2004
Format: Audio CD
Ever since Elvis began his famed recording career with a Rockabilly cover of Bluegrass Bossman Bill Monroe's signature "Blue Moon of Kentucky" Bluegrass has been regarded by *some* as the poor barefoot hayseed step-child of Country Music. Acoustic Guitars and Banjos and Fiddles were overwhelmed and swallowed up by Electric Guitars and Peddle Steel Guitars. A successful Bluegrass album sold maybe 30,000. The "dirty little secret" in Nashville was that the Bluegrass musicians were the ones who could really PLAY, so talented bluegrassers who wanted to make a decent living became Nashville studio musicians. Bluegrass fans, who are often as fanatical about the music as a religious zealot is about their religion, considered such musicians to have "sold out", and so it was that artists like Ricky Skaggs, Bill Keith, Marty Stuart and Vince Gill were considered. Once big fish in the small Bluegrass pond, they were thought by Bluegrass Purists to have compromised their artistic integrity to become Country successes. (Was it ironic that Ricky Skagg's first Country Hit was a "countrified" version of Lester Flatt's "Don't Get Above Your Raisin'?")
The purpose of this review isn't to give even a thumbnail history lesson of the evolution of Bluegrass and a comparison to more popular and "mainstream" forms of music, but it is important in having a complete appreciation of this album to recognize the historical rarity of a "popular" or "breakout" Bluegrass artist or band or recording.
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49 of 53 people found the following review helpful By Gary Popovich on September 27, 2001
Format: Audio CD
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.
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28 of 29 people found the following review helpful By Rick Snyder on November 4, 2002
Format: Audio CD
As I've gotten older, my musical tastes have broadened considerably. I would never even have given this CD a listen when it came out five years ago. Country? No thanks. Bluegrass? You're kidding right? My loss. This is a stunning collection of songs. The 'Revolver' of the bluegrass/country genres. Another 'Classic Rock' album get booted out my top 5 of all time and it will not be missed. In fact, this is a very strong contender for the number one slot. I still have no interest in country music. And traditional bluegrass doesn't excite me much either. But Alison Krauss and Union Station have taken the best elements of foot stomping rock and roll, pop, country and bluegrass and created something new and refreshingly unique. This is an incredible CD.
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13 of 13 people found the following review helpful By T. Frantz on May 1, 2004
Format: Audio CD
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.
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13 of 14 people found the following review helpful By A Customer on June 14, 1999
Format: Audio CD
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.
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