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7 of 7 people found the following review helpful:
5.0 out of 5 stars
the lion in winter, February 8, 2003
Could it get better than this, the pure, hard-won, heart-breaking truths that true country music offers grown-ups? Ray Price started out as a honkytonk singer and near-clone of Hank Williams, with whom he even roomed for a time in 1952. Over the next few years, however, he developed an original, rhythm-driven style that would virtually define country music in the later 1950s and 1960s. Then he moved on to a smooth, orchestral country-pop style which, truth be told, he did better than anybody since. But it's his small-group, honkytonk-shuffle music that will cement his reputation as one of the immortal country artists. Over the past three decades he has occasionally returned to that style. Time, his latest, plays to Price's greatest strengths, starting with song selection. Price has always known the difference between a good song and the other stuff. The title tune, by Max D. Barnes, is a tour-de-force, a fierce, unsentimental look at time, "a monster that lives in our clocks/ It's heartless and shows no remorse..../ Like a beast in the jungle/ That devours its young." Except for Cindy Walker's good-natured Western-swing workout "Ft. Worth, Texas," the songs are dark, reflective, melancholy evocations of the toll time's passing and love's wounds inflict. There is the staggering "Both Sides of Good Bye," which will pierce the heart of any listener who's been there and who knows all too well what Price is singing about. If Nashville music has turned into a vast Hallmark greeting card, Price's art is akin to the letter that remains after love has died ("Take Back Your Old Love Letters") or an adult's fatalistic resignation to faded love ("If It's All the Same to You"). Price tells these stories backed by a superb country band. Though his voice is showing its age around the edges, that only deepens the extraordinary emotion and experience he so starkly and beautifully evokes. This is a great record which deserves to be remembered as long as real country music is remembered.
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