The Long Surrender

Editorial Reviews

All Music Guide - Rick Anderson
It's been interesting to watch Over the Rhine's stylistic evolution over the 20 years since Till We Have Faces, their debut album: their sound wasn't far removed from the American heartland to begin with, but these days it's getting close to Tom Waits territory, what with the barely-in-tune pianos, the mandolins, the slide guitars, the humid-summer-evening tempos, and Karin Bergquist's increasingly smeary approach to sung pitch. There's also more than a touch of Lucinda Williams in her grainy vocal tone and her slushy consonants -- which are nearly nonexistent on "Rave On" -- and when Williams herself makes a cameo appearance on "Undamned" you may not even notice her. ...
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Editorial Reviews

All Music Guide - Rick Anderson
It's been interesting to watch Over the Rhine's stylistic evolution over the 20 years since Till We Have Faces, their debut album: their sound wasn't far removed from the American heartland to begin with, but these days it's getting close to Tom Waits territory, what with the barely-in-tune pianos, the mandolins, the slide guitars, the humid-summer-evening tempos, and Karin Bergquist's increasingly smeary approach to sung pitch. There's also more than a touch of Lucinda Williams in her grainy vocal tone and her slushy consonants -- which are nearly nonexistent on "Rave On" -- and when Williams herself makes a cameo appearance on "Undamned" you may not even notice her. Then there are the lyrics: Bergquist's tend to be evocatively minimalist and impressionistic ("Rave On,") while those written by Linford Detweiler, her husband and musical partner, tend to be discursive and rambling ("Undamned," "Infamous Love Song"), and tend to address more directly the religious themes that used to be more prominent in Over the Rhine's songs than they are now. There are times when the early-Americana theme starts feeling a bit heavy-handed, such as on the torchy "Infamous Love Song," which sounds kind of like a Kurt Weill outtake and the melody of which owes a bit too much to "Brother, Can You Spare a Dime?" But more often their approach balances old, new, and whimsical perfectly: "Only God Can Save Us Now" has a lightness at its heart that is belied by both its title and its madhouse lyrics, and Greg Leisz's perfect slide guitar embroiders several songs with various shades of gold thread. Despite the occasional moment when you might find yourself wishing Bergquist would stop pretending to have a speech impediment, this is a masterful album that is sure to please this band's ever-growing cult of followers.
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Product Details

  • Release Date: 2/8/2011
  • Label: Great Speckled Dog
  • UPC: 634457538429
  • Catalog Number: 105
  • Sales rank: 80,094

Album Credits

Performance Credits
Over the Rhine Primary Artist
Lucinda Williams Vocals
Linford Detweiler Acoustic Guitar, Piano, Electric Guitar, Vocals, Wurlitzer
Jim Gilstrap Background Vocals
Niki Haris Background Vocals
Greg Leisz Strings
Jean McClain Background Vocals
David Piltch Electric Bass, Upright Bass
Patrick Warren Pump Organ
Jay Bellerose Bells
Karen Bergquist Acoustic Guitar, Vocals
Levon Henry Tenor Saxophone
Keefus Ciancia Prepared Piano
Technical Credits
Joe Henry Composer, Producer, Liner Notes
Linford Detweiler Composer
Jim Gilstrap Management
Niki Haris Management
Jean McClain Management
Jay Bellerose Whistle
Ryan Freeland Engineer, Mastering
Kim Taylor Composer
Karen Bergquist Composer
Keefus Ciancia Orchestration
Wendi Poole Executive Producer
Steve Bertolino Executive Producer
Sheila Youngblood Executive Producer
Ryan Youngblood Executive Producer
Rick Paul Poole Executive Producer
Matthew Sena Executive Producer
Mary L. Watt Executive Producer
Elizabeth Killian Executive Producer
B.H. Fairchild Composer
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