I'm One of You

Editorial Reviews

Barnes & Noble - David McGee
Hank Jr. may introduce this disc with the soothing sound of crickets chirping, but it's not long before all hell breaks loose, in the form of crunchy guitars, booming drums, and his rough-and-rowdy baritone, which frolics in recounting the tale of a rugged bayou character named "Amos Moses." Never letting up, Bocephus boot-scoots into a Delbert McClinton–like bit of red-hot roadhouse R&B mischief, "Liquor to Like Her," and bumps it up another notch on "Just Enough to Get in Trouble," a self-deprecating slice of southern funk 'n' roll with echoes of both Muscle Shoals in the pumping horn section and his buddies Lynyrd Skynyrd in the wailing guitars. The title cut is a...
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Editorial Reviews

Barnes & Noble - David McGee
Hank Jr. may introduce this disc with the soothing sound of crickets chirping, but it's not long before all hell breaks loose, in the form of crunchy guitars, booming drums, and his rough-and-rowdy baritone, which frolics in recounting the tale of a rugged bayou character named "Amos Moses." Never letting up, Bocephus boot-scoots into a Delbert McClinton–like bit of red-hot roadhouse R&B mischief, "Liquor to Like Her," and bumps it up another notch on "Just Enough to Get in Trouble," a self-deprecating slice of southern funk 'n' roll with echoes of both Muscle Shoals in the pumping horn section and his buddies Lynyrd Skynyrd in the wailing guitars. The title cut is a grinding slice of southern-fried country-rock with furious, intertwining instrumental parts backing Bocephus' expression of solidarity with folks who always wind up on the wrong side of the issue, the law, or the status quo. Jr.'s meal ticket remains brutal country rock 'n' soul, played without mercy, but not without thought: The multilayered grandeur of the production bespeaks a smart, well-considered sonic concept. And whereas he's not above positing the novel theory that peace and harmony can be found in a tall brewskie the Cajun-flavored "Why Can't We All Just Get a Longneck," which segues into a stomping rendition of daddy's "Jambalaya", he also tackles the social commentary of Joe South's "Games People Play," tapping into the song's gospel strain, and sends up a heartfelt tribute to a fallen mentor in the razor-edged "Waylon's Guitar." I'm One of You continues an artistic renaissance that flowered on 2002's powerful Almeria Club and reasserts Hank Jr.'s place on the dais of prototypical country outlaws.
All Music Guide - Stephen Thomas Erlewine
Hank Williams, Jr. delivered one of his finest albums in 2002 with the loose-limbed, vigorous The Almeria Club Recordings, a record that found the veteran outlaw sounding more muscular than he had in years. A year later, he followed it with I'm One of You, a more conventional latter-day Hank Jr. record, one that was a little slicker, brighter, and broader. While the earthy vibe of Almeria is missed, I'm One of You retains some of sinewy, rebellious spirit of that record beneath the glossy exterior, giving it a good gut-level punch made all the stronger by the solid set of songs he's chosen for this effort. As to be expected, there's a fair share of jokes, such as "Liquor to Like Her" and "American Offline," but these are more nimble than their titles, as are anthemic ballads like the populist title track and the expert, moving Waylon Jennings tribute "Waylon's Guitar," which is right in the vein of "Are You Sure Hank Done It This Way." It all adds up to a strong latter-day Hank Jr. record, another solid entry in the low-key artistic comeback he's had in the early 2000s.
Rolling Stone
Williams sounds pretty damn vital here.

Williams sounds pretty damn vital here.
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Product Details

  • Release Date: 4/24/2007
  • Label: Imports
  • EAN: 5055011815421
  • Catalog Number: 670906
  • Sales rank: 404,227

Album Credits

Performance Credits
Hank Williams Jr. Primary Artist, Vocals, Background Vocals
Rob Crosby Choir, Chorus
Jimmy Hall Harmonica, Saxophone
Eric Darken Percussion
Joe Chemay Bass
Lisa Brokop Choir, Chorus
Bruce Bouton Lap Steel Guitar
Pat Buchanan Slide Guitar
Larry Franklin Fiddle
Paul Franklin Pedal Steel Guitar
John Hobbs Keyboards, Hammond Organ
John Jarvis Piano, Hammond Organ
Paul Leim Drums
Chris Leuzinger Dobro, Guitar
Brent Mason Guitar
Ann McCrary Background Vocals
Joey Miskulin Accordion
Steve Nathan Synthesizer, Keyboards, Hammond Organ, Clavinet
Brent Rowan Acoustic Guitar, Guitar, Sitar, 12-string Guitar, Slide Guitar, 6-string bass, Guitar (Baritone)
George Tidwell Trumpet
Reggie Young Guitar
Kim Keyes Background Vocals
Bryan Sutton Acoustic Guitar, Guitar (12 String Acoustic)
Marcia Ramirez Choir, Chorus
Wes Hightower Background Vocals
Jimmy Bones Hammond Organ
Christopher McDonald Choir, Chorus
Jim Reilley Choir, Chorus
Kady Bopp Choir, Chorus
Lauren Lucas Choir, Chorus
Caroline Cutbirth Choir, Chorus
Marcus Eldridge Choir, Chorus
Kristin Garner Choir, Chorus
Jennifer Hicks Choir, Chorus
Chip Matthews Choir, Chorus
Hilary Williams Choir, Chorus
Technical Credits
Paul Overstreet Composer
Jerry Reed Composer
Chris Clark Composer
Joe South Composer
Richard Fagan Composer
Troy Seals Composer
Bobby David Composer
Tom Hemby Composer
Ed Seay Engineer
Eddie Setser Composer
Michael Smotherman Composer
Al Sutton Engineer
Hank Williams Jr. Composer, Producer
David Lee Murphy Composer
Neal Coty Composer
Kim Tribble Composer
Tony Stampley Composer
John Saylor Engineer
Doug Johnson Producer, Engineer
Tommy Barnes Composer
Chip Matthews Engineer
Jimmy Melton Composer
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