Tara Nevins Press Quotes- Wood and Stone:

“A tour de force from start to finish” – Kay Cordtz, Elmore

“With the wonderful fiddle groove and vividly written lyrics, Nevins gives a glimpse into her roots. Stepping out for a rare solo record (beyond her beloved band, Donna the Buffalo), she meshes her Cajun influences, unique voice, drums and steel guitars for an intriguing look at her heritage.” – CMT

“Wood And Stone adds another powerful and engaging chapter to Nevins’ musical achievements”. – Steven Stone, Vintage Guitar

“a wide-ranging affair encompassing all manner of rootsy Americana, spiced with Nevins’s voice and multi-instrumentalist skills, served up in a package that is polished but never slick. Nevins, in other words, is the real deal.” – David Maine, Pop Matters

“If heroes and heroines of rock ‘n’ roll are defined by their uniqueness, they definitely broke the mold when they made Tara Nevins.” – Wildman Steve, The Corner News

“Larry has taken Tara’s music to an entirely higher level, if this doesn’t turn into an award winner they’ll have been cheated!” – Hudson Valley Bluegrass Association

“It’s a smart move…” – Andy Gill, UK Independent

“The centerpiece of the album, in my opinion, is the sweeping “The Wrong Side,” which features Allison Moorer and Teresa Williams. It’s a track sounds like it was from the O’Brother Where Art Thou? sessions, but the same could be said of the haunting “Stars Fell On Alabama,” where once again Nevins shows her prowess on the fiddle. This is an exceptional piece of music, one that I think needs to be heard—to prove that people are still cutting “Country Music” these days!” – Chuck Dauphin, Music News Nashville

“Tara channels swampy accordion and mountain fiddles through a set of songs about heartaches and a longing for the sanctity of family values and a simple home life. The chemistry between Nevins and Campbell cooks up a powerfully convincing sound through tracks like Down South Blues, The Wrong Side and You’re Still Driving That Truck as the duo’s varied strings entwine. But the star turn is the brooding Tennessee River with its big, fat, shimmering guitars and broken heart laid bare. Terrific.” – Properganda

“Songs such as the fiddle-infused title cut, a touching tribute to home and family, and ‘You’re Still Driving That Truck’ are country rockers. ‘Snowbird’ is a string ballad about unrequited love, while “Nothing Really” is an instrumental bluegrass dust-up. ‘Tennessee River,’ a dark and gripping song about love’s place in ones’ life, features Campbell’s harrowing, electric guitar wails. The record closes with a cathartic, beautiful cover of Van Morrison’s ‘The Beauty of Days Gone By’—bringing Wood and Stone full circle.”  Bill Clifford – Relix

“The sound is both loose and tight at the same time; the band knows how to walk that line and let Nevins be herself. To put it simply, it just plain works.”  – Brian Robbins,

“Both Nevins and Campbell know how to wring a feeling from them and the result is by turns joyous, wistful and ominous, but always perfect.”  – Kay Cordtz, Elmore

“nicely built songs that are equal parts modern Americana and classic country” – – Aaron Keith Harris,  Lonesome Road Review

“as invigorating as it is mesmerizing.” – Amos Perrine, No Depression

“Campbell and Nevins work some real magic here”  – Hyperbolium

“The Ingenious production of Larry Campbell, gorgeous harmonies with some haunting voices and the most rocking fiddle playing you have ever heard. Nevins has written some fascinating songs, drawn from her life, and lined up some great musicians to help her deliver them.”  – Kay Cordtz, Elmore

“abundance of talent and songwriting chops” – David Maine, Pop Matters

“As much as I have listened to “Mule to Ride” during the past twelve years, I, like many other Donna fans,  have also yearned to hear Tara in her own voice, on her own terms. The new album is just that — and more.” – Amos Perrine, No Depression

“compelling when combined with her mountain fiddle on a song such as “Wood and Stone”, whose crisp swamp-funk country backbeat brings pep to its message of tradition and heritage (“Wood and stone, house and home, is what drives every family tree”). – Andy Gill, UK Independent

“‘Stars Fell On Alabama’ is Tara’s version of an old standard, while ‘Tennessee River’ sounds like she’s written a new standard.” – Hudson Valley Bluegrass Association

“Two surprises on the album are “Stars Fell on Alabama,” in which Nevins turns the ‘30s jazz standard into a bleak, gothic soundscape, and “Tennessee River,” an even more desolate turn recalling the best of Lucinda Williams.” – Aaron Keith Harris,  Lonesome Road Review

“She delivers a Country leaning effort that conjures up a time before the Opry. An era just before Nudie began making his sequined suits for Little Jimmy Dickens and Hank Williams (and a long time before he made the infamous gold lame’ suit for Elvis). It is the music sung by and to the rural poor, who lived on the margins of the Post-Depression era economic recovery. People whose lives were defined by their broken relationships. “ – Chip Frasier, Twangville

“Nevins employs accordion and fiddle (hers) with the zest and skill of the best Zydeco bands but with the big backbeat (from Helm on a couple of tunes) of Jimmy Miller-era Rolling Stones like on “You’re Still Driving That Truck” among other places. But she can follow that kind of hard driving tune with a rhythmically up but lyrically poignant bit of back porch music like the bluegrass-y “Snowbird” – a duet with fellow traditionalist Jim Lauderdale – and  swing into a brisk fiddle instrumental (“Nothing Really”) and still sound like herself; it’s changes of gear more than of direction. That’s the mark of the good ones, the guarantee is their name on the label, something Nevins shares with Van Morrison (maybe it’s the water in Woodstock) whose “Beauty Of Days Gone By” closes out the album.”  Blurt

“The title track has one of the catchiest grooves I’ve heard in a while, while Nevins’ fiddle slipping in over Campbell’s driving guitar lines as she sings about dirt lanes, maple trees, grandma’s applesauce and other touchstones that make up “the better part of me.”” – Aaron Keith Harris,  Lonesome Road Review

“The pedigree of the album is staggering.  Start with Nevins, who has been an integral member of DTB since its formation in 1987, and add producer Larry Campell along with guest performers Levon Helm, Jim Lauderdale, Allison Moorer, and Teresa Williams, and you get a record that is as solid as the building materials mentioned in the title.” – Fifty Cent Lighter Blog

“Musically, it weaves old-time music, bluegrass, Cajun, Zydeco, country and gospel into a blend so palatable it’s almost pop music. But it is far more substantial than your average pop, and features great singing and playing on songs like “You’re Still Driving That Truck,” “Tennessee River,” “What Money Cannot Buy,” “Snowbird,” and the title cut which opens the album and starts it off with a bang. “ – Wildman Steve, The Corner News

“a stellar collection that moves easily from fiddle music to contemporary folk rock to Cajun. It’s an album that sounds familiar, yet new, not an easy feat.” – Jim Morrison, No Depression

Nevins takes the past and utilizes drums and a steel guitar, to ensure the album is still contemporary. However, the real bridge between past and present is a voice, so singular and beautiful, that it must be heard to be appreciated. – Chip Frasier, Twangville

“‘What Money Cannot Buy’ and ‘The Wrong Side’ are two different versions on ‘I’ve been wronged”’ songs, the latter being one of the most upbeat sounding takes on breaking up that I’ve ever heard.” – Hudson Valley Bluegrass Association

“But even that great track [The Wrong Side] did not prepare me for what comes next, the only song Tara did not write, the jazz vocal standard, “Stars Fell on Alabama.” Opening with a mournful fiddle and Rose Sinclair’s poignant banjo and even though I am familiar with at least two dozen other renditions of the song, it’s as though I heard it for the first time. It is stunning in its quietness.” – Amos Perrine, No Depression

“The highlight of the record, though, might be “Tennessee River”, a song that again sees Nevins turning introspective as crunchy, distorted guitars creak in the background a la 1970s Neil Young. In fact, this song could easily be an outtake from Everybody Knows This Is Nowhere, with a different vocalist. Again, the disparate elements come together powerfully to provide a neat bookend for the hard-charging opening track. At five minutes, it’s the longest song on the album and one of its most satisfying. “  – David Maine, Pop Matters

“If you like the fiddle, in almost all it’s various forms, and want to wade into something with country, old time, zydeco, cajun, and maybe even some bluegrass touches, you couldn’t do better than to start with this CD.” – Hudson Valley Bluegrass Association

“her songs stretch out across all her influences, including fiddle- and steel-lined country, second line rhythms and the Cajun sounds of her earlier band, the Heartbeats.”  – Hyperbolium

“The opening title cut has somewhat of a 60’s Folk / Pop feel to it, and it bounces off the record. Think of Peter, Paul, & Mary meets Skeeter Davis, and you’ve got it.” – Chuck Dauphin Music News Nashville

“The country swing of “You Walked the Wrong Side,” [is] a toe tapping done-me-wrong song that sounds like something off a Patsy Cline record.” – Jim Morrison, No Depression

“This is bluegrass by way of rock ‘n’ roll, and it works gloriously.” – …““All I Ever Needed” and “You’ve Got It All” keep the tempos upbeat even as the vibe turns more purely country. “ – David Maine, Pop Matters

“Wood and Stone is a hard-to-pigeonhole album because the artist is so adept in utilizing varied elements to create consistently powerful songs.” – David Maine, Pop Matters

“… her music takes on the spirit of the [Levon Helm] Barn like a well-worn and cozy Gypsy jacket that was tailored to her shoulders.” – Brian Robbins,

“The earthy tunes on Wood and Stone are captivating.” – Chip Frasier, Twangville

“… the album features natural, down-to-earth arrangements where atypical instruments blend,
i.e. the double solo between electric guitar and pedal steel on ‘Who Would You Tell.’” – Steven Stone, Vintage Guitar

“She’s outdone herself with the superb “Wood and Stone.” – Jeffrey Sisk, The Daily News

“Producer Larry Campbell fits each song with a unique groove and adds superb electric and pedal steel guitar. The girlishness in Nevins’ voice and the layering of double-tracked vocals add a hint of the Brill Building, which is a terrific twist on the rustic arrangements.”  – Hyperbolium

“… Riding high from producing two Grammy Award winners for Helm, Campbell keeps things bright and tight without giving up intimacy.  And, that’s the charm of this album, the sense of getting a peek into Nevins’ splendid soul and her vast woodsy song repertoire.” –Billings Gazette

“soulful country groove” – Hyperbolium

“engaging and entertaining. At times playful and always eclectic.“ – Steven Stone, Vintage Guitar

Nevins tips the hat to Loretta on the retro-sounding “You’re Still Driving That Truck,” which sounds like it would have been a top-5 hit from the ‘Coal Miners’ Daughter’ from 1968. There’s more than a subtle nod to the ‘Boom Chicka Boom’ sound of Johnny Cash on “Down South Blues” that should be of interest to fans of the ‘Man In Black.’” – Chuck Dauphin Music News Nashville

“Closing the album is a heartfelt take on Van Morrison’s “Beauty of Days Gone By,” so lovingly performed by Nevins that it compels one to anticipate the beauty of days to come, listening to more wonderful music from this heroine of today’s music scene.” – Wildman Steve, The Corner News

“‘Wood and Stone’ is strangely hypnotic at times, with its mesmerizing rhythms and Nevins’ relaxed but commanding delivery. The beautifully dark “Tennessee River” and her cover of the jazz standard, ‘Stars Fell On Alabama,’ are entrancing and highlight Nevins’ beautiful voice” – Boone Mountain Times

“exceptional music and excellent songwriting; ten of the thirteen tunes were written by Ms Nevins, and she does sure brighten the day.” – FAME

“Wood and Stone” is a upbeat mix of alt-country, bluegrass and Cajun. It’s fun, toe-tapping sort of music that sounds like a little bit of June Carter Cash mixed with some Tift Merritt with a dash of  zydeco flavor here and there. Call it Americana if you want –that seems to be the catch-all handle for anything that’s not country and not exactly rock n’ roll…I liked it.” – Bill Lynch, WV Gazette

“The lyrics cast an eye on relationships that refuse to live up to their potential, with music that underlines the certainty of a woman who will no longer suffer others’ indecision, inaction or infidelity.”  – Hyperbolium

“Nevins writes with honesty and just enough of a sense of humor about where she’s been.” – Jim Morrison, No Depression

“‘Wood and Stone’ is not emotionally-wrenching, rather it is a wise retrospective of the joys and sorrows of love. Nevins’ writing isn’t that of an angry divorcee, so don’t expect the album to be a diatribe on men. Her writing is a reflection of experiences to which anyone can relate.”  – Boone Mountain Times

“Bluegrass-tinged folk has hints of Levon Helm’s spirit infused.” Charlotte Creative Loafing

“diverse and personal “ – Wildman Steve, The Corner News

“zesty fiddle work“  – Chuck Dauphin Music News Nashville

“I should likely write more about Nevins’s fiddling, but I’m so taken with her voice, there doesn’t seem to be much point in further fawning, however well-intentioned.” – Fervor Coulee

“Campbell’s jazzy guitar work and Nevins’ fiddle combine to conjure up the spirit of Bob Wills and the Texas Playboys.” – Brian Robbins,

“It feels like my musical puzzle all put together,” Nevins says.“ Music brings people in touch with their artistic side and their innermost feelings,” Nevins says. “It broadens their perspectives and opens their hearts and minds and speaks to people in a way that the written word doesn’t necessarily do.” states Tara in Fly Magazine

[Her parents] encouraged Tara in all her musical endeavors and with their support, and she was free to explore all the wide variety of music that surrounded her; folk, gypsy jazz, Cajun and Zydeco, bluegrass, and whatever else piqued her musical intelligence. All of which can be heard on the music presented on this disc in her fusion of these early influences” – FAME

“Nevins’s world is certainly not all lightness and flowers, but she never succumbs to wallowing in the murk for too long. The result is a challenging, multi-dimensional album that should appeal to folks who enjoy Rosanne Cash’s more playful side, although Diana Jones is perhaps a more representative comparison.  The more I listen to Wood and Stone, the more I find to appreciate; I suspect I’m going to be listening to this one well into the fall.”-   Fervor Coulee

“Wood and Stone will probably be described as bluegrass, newgrass or Americana or country rock by some. But way back in your daddy’s day, music that had so many stylistic elements melded together so seamlessly and which had such clever lyrics and made you want sit back and listen closely sometimes and to get up and shake other times, that music was just called rock and roll.”  – Blurt

“These are songs that would fit right in on country radio and not be out of place on a rock station.”   – Hudson Valley Bluegrass Association

2 Responses to Press

  1. Pingback: “A Tour De Force from Start to Finish” ~ Reviews of ‘Wood and Stone’ by Tara Nevins « Dreamspider's Blog

  2. Lew says:

    An all-around great song (Wood and Stone)

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