Here Come the Derailers

( 1 )

Editorial Reviews

Barnes & Noble - David McGee
Twang is not only alive and well with the Derailers, it's vital and vibrant, the stuff of this band's life. For Here Come the Derailers, the quartet polish their steely attack without losing any of their bite, thanks to production from Kyle Lehning, who's been behind the board on most of Randy Travis's classic cuts. The band have assembled a strong collection of their own songs and ones by redoubtable veterans such as Jim Lauderdale teaming with the band's writers and with Melba Montgomery and Kostas, and the Derailers' rootsy, hard country treatment turns this disc into a vivid journey through heartbreak and elation, honky-tonk style. Brian Hofeldt stands out on his ...
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Editorial Reviews

Barnes & Noble - David McGee
Twang is not only alive and well with the Derailers, it's vital and vibrant, the stuff of this band's life. For Here Come the Derailers, the quartet polish their steely attack without losing any of their bite, thanks to production from Kyle Lehning, who's been behind the board on most of Randy Travis's classic cuts. The band have assembled a strong collection of their own songs and ones by redoubtable veterans such as Jim Lauderdale teaming with the band's writers and with Melba Montgomery and Kostas, and the Derailers' rootsy, hard country treatment turns this disc into a vivid journey through heartbreak and elation, honky-tonk style. Brian Hofeldt stands out on his powerful, self-penned breakup song, which has all the vocal and instrumental grandeur of a Mavericks classic, right down to his resonant, tear-stained vocal, which is in the spirit of chief Maverick Raul Malo. The rocking instrumental "Country a Go-Go" lightens the mood, blending trebly surf guitar licks with scattershot pedal steel lines and evocative B3 organ support over pounding drums. Lead vocalist/guitarist Tony Villaneuva asserts himself as one of country's most affecting singers with several gripping ballad performances, including his own heartbreaking song "You Know What She's Like." Fleshing out the album are a couple of inspired covers: the bopping early Charlie Rich hit "Mohair Sam" and a soul tearjerker, "If It's Really Got to Be This Way," originally cut by Arthur Alexander. The Derailers keep it coming, and their charge gets stronger every time.
All Music Guide - Mark Deming
It says a lot about the current state of affairs in Nashville that the Derailers, one of the finest retro-style country acts around, are able to make better and more purely C&W-oriented albums recording for a Texas-based indie label than for one of the Big Boys on Music Row. Here Come the Derailers, the group's fourth studio album, is their first for Lucky Dog, a Sony imprint, and the idea seems to have been to create an album that rides a middle ground between the spunky Buck Owens-style honky tonk of their earlier albums and something that might find airplay on contemporary country radio. Unfortunately, the formula turns out to have been a little off, and producer Kyle Lehning has added enough polish to the Derailers' sound that a large percentage of the group's personality has been buffed away in the process. While Brian Hofeldt's picking is as stellar as always and Tony Villanueva's vocals are in fine form, the energetic snap of the band's best work is considerably muted here, and the glossy keyboard and steel overdubs generally don't add to the songs, but take away from them. While there's some great material on board -- the honky tonkin' wit of "Bar Exam," the spunky "There Goes the Bride," and the Orbison-esque "I See My Baby" -- there's an uncomfortable amount of filler, especially the failed weepers "All the Rage in Paris" and "My Angel's Getting Tired." And while covering "Mohair Sam" sure sounds like a good idea, the results are disappointing, though their take on Arthur Alexander's "If It's Really Got to Be This Way" is terrific. Here Come the Derailers isn't a bad album -- this band is far too talented for their virtues not to shine through -- but it's a far cry from the high-spirited retro-twang of their earlier albums, and while a lot more people are likely to hear this record, it's not an introduction that flatters the group.
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Product Details

  • Release Date: 9/11/2001
  • Label: Sony Mod - Afw Line
  • UPC: 696998579323
  • Catalog Number: 85793
  • Sales rank: 89,275

Album Credits

Performance Credits
The Derailers Primary Artist
Delbert McClinton Harmonica
Eric Darken Percussion, Marimbas, Timpani, Vibes, Hand Clapping
John Wesley Ryles Background Vocals
Bekka Bramlett Background Vocals
J.T. Corenflos Electric Guitar
Dan Dugmore Acoustic Guitar, Mandolin, Electric Guitar
Thomas Flora Background Vocals
Mark Horn Drums
John Jarvis Piano, Hammond Organ, Wurlitzer, Vox Continental
Kyle Lehning Hammond Organ, Hand Clapping
Liana Manis Background Vocals
Marty Muse Pedal Steel Guitar
Billy Panda Acoustic Guitar, Mandolin, Electric Guitar, Gut String Guitar
Kayton Roberts Lap Steel Guitar
Hank Singer Fiddle
Brian Hofeldt Electric Guitar, Vocals, Vocal Harmony
Tony Villanueva Acoustic Guitar, Harmonica, Vocals
Ed Adkins Bass
Sandy Williams Mellotron
Technical Credits
Dallas Frazier Composer
Kyle Lehning Producer, overdub engineer
Doug Sax Mastering
Jason Lehning Engineer, overdub engineer, Pro-Tools
Tracy Baskette-Fleaner Art Direction
Robert Hadley Mastering
Bill Johnson's Louisiana Jug Band Art Direction
Sandy Williams overdub engineer
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    derailers are the best on known band in amercia

    CLEARLY ANY MUSCIC FAN LOOKING FOR SOMETHING ALITTLE BUCK OWENS , TRAVELING WILBURYS WITH A TOUCH OF ROY ORBISON HAS NOW FOUND THERE FAVORITE BAND

    Was this review helpful? Yes  No   Report this review
Sort by: Showing 1 Customer Reviews