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| Tom Russell | Primary Artist, Acoustic Guitar, Vocals |
| Ian Tyson | Vocals, Guest Appearance |
| Katy Moffatt | Vocals, Guest Appearance |
| Greg Trooper | Vocals, Guest Appearance |
| Hank Bones | Bass |
| Skip Edwards | Keyboards |
| Andrew Hardin | Bass, Guitar |
| David Hidalgo | Guitar |
| Steve Holley | Drums |
| David Mansfield | Slide Guitar |
| Lee Thornburg | Horn |
| Tom Timko | Horn |
| Dusty Wakeman | Bass |
| Fats Kaplin | Fiddle, Harmonica, Pedal Steel Guitar, Accordion |
| Mike Warner | Drums |
| Billy Troiani | Bass |
| Mike Warner | Drums |
| Charlie Caldarola | Drums |
| Jeff Donovan | Drums |
| Ian Tyson | Composer |
| Tom Russell | Composer, Liner Notes |
| Tom Pacheco | Composer |
| Greg Trooper | Composer |
| Mark Hallman | Remastering |
| Andrew Hardin | Engineer |
| John Yuelkenbeck | Remastering |
Anonymous
Posted October 1, 2010
Playing Time - 60:34 -- About a decade or two ago, The Tom Russell Band’s music was considered folk. Now, this album hails the band’s frontman as “one of the seminal artists of the Americana movement.” The singer/songwriter from New York emerged on the scene in the mid-1980s, and his sound had influences of country, rock, Tex-Mex and folk. You might have seen his name in songwriting credits in collaboration with such big names as Nanci Griffith, Peter Case, Ian Tyson, Sylvia Tyson, Dave Alvin and Katy Moffatt. On “Raw Vision,” all but three selections were written solely by Russell. “Navajo Rug” was written with Ian Tyson “Haley’s Comet” with Dave Alvin and “Hong Kong Boy” with Greg Trooper. Americana has now come to signify an eclectic blend of music, largely acoustic, for diverse tastes. The format implies an aesthetic style that is honest roots music with a connection to country. Americana is both a small grassroots specialty format as well somewhat of a marketing strategy too. It's also a foundation that serves as a springboard for artists who are difficult to categorize exactly. The Tom Russell Band released five albums on the Philo label between 1984 and 1994. With deep voice, Russell is a storyteller with his lyrics. His songs are packed with imagery and emotions. Instrumentally, the band works as a strong team. Besides Russell on acoustic guitar and vocals, there are Andrew Hardin (guitar, bass), David Mansfield (slide guitar), Fats Kaplin (pedal steel, fiddle, harmonica, accordion), Lee Thornburg, Tom Timko (horns), Skip Edwards (keyboards), Hank Bones, Dusty Wakeman, Billy Troiani (bass), Steve Holley, Charlie Caldarola, Mike Warner, Jeff Donovan (drums). Guests include Katy Moffatt, Greg Trooper, Ian Tyson, and David Hidalgo. This compilation documents some solid performances of some very polished songs. With this album’s release following in Katrina’s aftermath, “Hurricane Season” is particularly a timely piece. “Haley’s Comet” is a classic about Bill Haley’s demise. So are “Blue Wing,” “Veteran’s Day,” and “Navajo Rug.” Johnny Cash also cut the first two. Another popular Tom Russell Band song is “Gallo del Cielo,” which Joe Ely covered. One cut that I wish Tom would’ve included is one co-written with bassist Andrew Hardin called “Zane Grey.” Americana has been trying to position itself as a "better alternative" to mainstream stations. Tom Russell Band has as strong alternative country flavor. If you’re part of that whole segment of music-listening populace who is not listening just to what is programmed on the pop and country charts, you owe it to yourself to rediscover this body of work from The Tom Russell Band. “Raw Vision” realizes that the country music umbrella is much broader than just might hear on mainstream radio. Tom Russell’s tangent from the 80s and 90s was on the leading edge of the Americana movement. “Oil Field Girls,” “Hong Kong Boy,” and “Denver Wind” are previously unreleased. (Joe Ross, Roseburg, OR.)
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Editorial Reviews
All Music Guide - Thom Jurek
Raw Vision is a compilation from the Tom Russell Band's Rounder/Philo recordings. As such it is a competent, somewhat representative, but nowhere near thorough enough collection of Russell's best music for the label. One reason is that while these tunes offer a glance at the true gift of his vocation as a songwriter, they don't capture the true flavor of the albums these tracks come from. While there isn't a weak track in the bunch, none of them stand out the way they did on his albums -- all of which were conceived that way -- and they don't completely capture the flair and drama that Russell and his mates could conjure when fully in it. Perhaps what should have been done ...