Kiss It Goodbye

Editorial Reviews

Barnes & Noble - Amy Weivoda
"Some Depression" might be the right term for Chris Mills's languid, pedal-steel-tinged rock. This Chicago-based singer-songwriter has a good bit of the alt-country vibe in his mournful ruminations on lost love and other miseries, but he takes his cue more from Wilco's Jeff Tweedy than from Son Volt's Jay Farrar in that he's willing to let a wide variety of musical styles influence his work. Songs such as the twangy "Fall," which contains the terrific-sounding phrase "All the junkies in Kentucky," show off his knack for writing back-roads country rock, but that's not all Mills can do. He can also pull off wonderful experiments like "Signal/Noise," which blends '50s-style...
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Editorial Reviews

Barnes & Noble - Amy Weivoda
"Some Depression" might be the right term for Chris Mills's languid, pedal-steel-tinged rock. This Chicago-based singer-songwriter has a good bit of the alt-country vibe in his mournful ruminations on lost love and other miseries, but he takes his cue more from Wilco's Jeff Tweedy than from Son Volt's Jay Farrar in that he's willing to let a wide variety of musical styles influence his work. Songs such as the twangy "Fall," which contains the terrific-sounding phrase "All the junkies in Kentucky," show off his knack for writing back-roads country rock, but that's not all Mills can do. He can also pull off wonderful experiments like "Signal/Noise," which blends '50s-style sha-la-la-la pop with wistful lyrics and acoustic instrumentation. It's a good trick and one of the many that give Kiss It Goodbye the sparkle this genre badly needs. We can't be sad all the time, after all.
All Music Guide - Nathan Bush
Kiss It Goodbye, the third album from Chris Mills, finds the singer/songwriter growing out of the Jay Farrar/Son Volt influences of his debut and into a set of older, wiser, and perhaps more timeless ones. Occasionally, the reference points are a bit too obvious, but mostly, the record proves that Mills can take a set of familiar elements and refashion them like a competent craftsman. With excellent pacing, Kiss It Goodbye breaks up aching pedal steel numbers with mid-tempo rockers. Kicking off the album, the title track is a bolder statement than anything presented on 1996's Nobody's Favorite. It's followed by the heartbreaking "Watch Chain." "I have changed the lock on my heart since you were here" he sings, "Now the key you got will only unlock a box of tears." It's an example of Mills' ability to turn the perfectly balanced country phrase, a play on words twisted for an ounce of empathy. Later, on "Crooked Vein," he quotes Charlie Feathers by way of Elvis, singing "I forgot to remember to forget," adding "I'm gonna stick a straight razor in my crooked vein" a line of his own. "All You Ever Do" is a Bruce Springsteen/John Cougar Mellencamp-style rocker that also draws on the pair for its subject matter. "Why you gotta hate your hometown honey?" he asks. "Them folks brought you up, but all you ever do is put 'em down." Rather than being a defense, the tone changes as Mills attacks the song's Any Town U.S.A. Indeed, Mills' songwriting voice can accurately be described as a combination of the refined, working-class narratives of Springsteen and the heartache of the best country music. Unfortunately, "All You Ever Do" makes the debt to the Boss too obvious as does "Borderline". But it's a forgivable offense for a talented, young songwriter. On Kiss It Goodbye, Mills shows that he is willing to take on his influences while making the assertions that he hopes, one day, to equal them.
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Product Details

  • Release Date: 7/25/2000
  • Label: Sugar Free Records
  • UPC: 615493002020
  • Catalog Number: 20
  • Sales rank: 259,867

Tracks

Disc 1
  1. 1 Brand New Day (4:10)
  2. 2 Watch Chain (4:02)
  3. 3 Crooked Vein (3:13)
  4. 4 All You Ever Do (3:05)
  5. 5 Tooth and Nail (3:53)
  6. 6 Napkin in a Wine Glass (3:48)
  7. 7 Fall (3:20)
  8. 8 Borderline (3:40)
  9. 9 Lips Are Like Poison (3:04)
  10. 10 Signal/Noise (7:35)
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Album Credits

Performance Credits
Chris Mills Primary Artist
Brian Deck Electric Guitar
Kelly Hogan Background Vocals
Jon Langford Background Vocals
Fred Lonberg-Holm Cello
John Rice Dobro, Mandolin, Violin
Jeb Bishop Trombone
Ken Sluiter Electric Guitar, Background Vocals
Deanna Varagona Background Vocals
Julie Liu Violin, Viola
Ryan Hembrey Bass
Gerald Dowd Drums
Technical Credits
Brian Deck Producer
Jon Langford Producer
Mike Hagler Mastering
Ken Sluiter Engineer
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