Everything's Fine

( 1 )

Editorial Reviews

All Music Guide - Matthew Robinson
Leaning into every key drop, pianist Peter Linnane kicks of a very comfortable and pretty new album from the Willard Grant Conspiracy. As the deep and chokey vocals of Robert Fisher wash in, "Notes From the Waiting Room" invites all listeners to come and sit beside the big man up front. Pledging love to family and best wishes to friends, Fisher asks for strength to continue his musical fight before Terri Moeller kicks it into a higher gear for "Christmas in Nevada." Undaunted, Fisher takes it back down a peg to where he seems most comfortable for "Kit Flying," and then continues to admit his self-proclaimed faults in the Pete Sutton bass-filled confessional "Wicked." ...
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Editorial Reviews

All Music Guide - Matthew Robinson
Leaning into every key drop, pianist Peter Linnane kicks of a very comfortable and pretty new album from the Willard Grant Conspiracy. As the deep and chokey vocals of Robert Fisher wash in, "Notes From the Waiting Room" invites all listeners to come and sit beside the big man up front. Pledging love to family and best wishes to friends, Fisher asks for strength to continue his musical fight before Terri Moeller kicks it into a higher gear for "Christmas in Nevada." Undaunted, Fisher takes it back down a peg to where he seems most comfortable for "Kit Flying," and then continues to admit his self-proclaimed faults in the Pete Sutton bass-filled confessional "Wicked." Taking a step out for the drum and bass-based string circles of "Hesitation," Fisher rumbles back in for the snaky folk tune "Ballad of John Parker." The near-morbid down mood persists through "Southend of a Northbound Train," but is again broken by the ironic pacings of "The Beautiful Song." Returning to his call for salvation, Fisher pays tribute to Friends of John with "Drunkard's Prayer," which is both echoed and answered in the dark and ghosty canyons of "Closing Time." Closing the album is perhaps an explanation for it. "Stuck inside in the snow in Massachusetts," says the state-named chorus. It might lead anyone to get a bit dark. Fortunately, Fisher is able to put across his cabin-fevered pain in a way which, though disturbing, is oddly beautiful and stirring. Hopefully, it's just a song.
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Product Details

  • Release Date: 2/20/2001
  • Label: Slow River Uk
  • UPC: 635981005821
  • Catalog Number: SRR58

Album Credits

Performance Credits
Willard Grant Conspiracy Primary Artist
Chris Brokaw Slide Guitar
Carla Torgerson Vocals
Peter Weiss Guitar, Lap Steel Guitar
Terri Moeller Percussion, Drums
Edith Frost Vocals
Robert Fisher Vocals
James Apt Guitar, Guitar (12 String Electric)
Vic Rawlings Banjo, Cello
Pete Sutton Bass
Paul Austin Acoustic Guitar, Electric Guitar
George A. Howard Dobro, Mandolin
David Michael Curry Harmonica, Viola
Technical Credits
Carla Torgerson Vocal Arrangements
Peter Weiss Producer, Engineer
Edith Frost Vocal Arrangements
Robert Fisher Composer, Producer
Willard Grant Conspiracy Arranger
Jeff Lipton Mastering
Pete Sutton Composer
Paul Austin Composer
Peter Linnane Engineer
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Customer Reviews

Average Rating 5
( 1 )
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    a fabulous review from the San Francisco Chronicle

    Cementing themselves in the firmament of the genre that can only be called ''twisted roots'' -- a hybrid of alt-country and Southern gothic that includes Lambchop, Giant Sand and 16 Horsepower -- Willard Grant Conspiracy has put out a lo-fi charmer of a fourth album. The Boston-based musical collective, which has featured songwriters Robert Fisher and Paul Austin at its core since its 1995 inception, takes a homespun approach. Piano, acoustic guitar, stand-up bass, mandolin -- every instrument part is captured as if live, every note is clearly distilled. Songs that seem simple on first listen later reveal dark complexities; some bore their way into your brain, much like an angst-filled Mark Eitzel ode. ''Ballad of John Parker'' is a lovely Appalachian dirge in waltz time. ''Christmas in Nevada'' is catchy, a ditty from the desert. And the instrumental ''Hesitation'' is stunning, a haunting reverie to listen to while speeding down a lonely highway and pondering life's questions. But the element that holds the album together, even when it wanders (as in ''The Beautiful Song''), is Fisher's imposing, vibrato-edged voice: a cross between Willie Nelson (in his younger years) and Warren Zevon. Fisher makes loneliness sound downright pretty.

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Sort by: Showing 1 Customer Reviews