While the first two projects were credited to Adams and his newband, the Cardinals, "29" is billed as a solo album. The set wasproduced by longtime collaborator Ethan Johns and featurescontributions from the Cardinals' J.P. Bowersock as well as bassistJennifer Condos, who previously played on Adams' "Gold."

"Old No. 2" is the second solo release from lead singer and bassplayer for legendary rock-n-roll renegades, The Supersuckers. Recorded atStudio Litho in Seattle with engineer and co-producer David Fisher, Spaghetti"went all crazy" and indulged himself with 5 whole days torecord and mix Old No. 2. (one more than his first release"The Sauce!") Michael Murderburger returns on drums andpercussion and Spaghetti also up and splurged for a ringer to help make itsound "more like real music" (as he puts it). The incredible,multi-talented comic genius, Jordan Shapiro who lends his guitar, dobroand pedal steel talents to "Old No. 2," making it bigger and evensweeter than "The Sauce."

Rocknworld.com:
by Shannon Taylor
.
... Rebellious countrified rocker Eddie Spaghetti, of Supersuckers fame, has turnedin a great performance with Old No. 2, his hybrid album of classic coversand brand new originals. ...
... From the opening chords of Bob Dylan's "Tonight I'll Be Staying Here WithYou",it's clear that the point of this record wasfor Spaghetti to pay homage to his influences, while having a lot of fun with somegood time music. Spaghetti's treatment of the aforementioned Dylan songemploys the use of a lazy pedal steel which allows the song to exist in amellow yet upbeat country groove. With "All Along" we are treated tothe first of the four Spaghetti originals that make up the rest of thedisc. The songs, while fun and immensely listenable, crumble slightly when putup against songwriters such as Dylan, Tom Waits and Willie Nelson, however theystill allow for Spaghetti's primary purpose of entertaining the audience toshine through. ...

In the first of what we can only hope will become aseries ofcollaborations between Calexico and Iron & Wine, this seven songeffort features the minimalist Sam Beam approach floating on neo-folkand country-western waters.

Tucson mariachi singer Salvador Duran lends someoperatic vocalsopposite Beam’s gentle voice in the lush opener, “He Lays In TheReins.” Narrative lyrics lead the story-lined “Prison On Route 41, andPaul Niehaus’ steel guitar, along with some pop group melodies andhorns, spurs “A History of Lovers” to a nice centerpiece statement. Hispurring steel guitar rises once again in the haunting tale of lost love- “Sixteen, Maybe Less” – which provides Beam’s whispery words a senseof grandness. And Joey Burns chimes in to harmonize on the bluesyrocker “Red Dust,” which trembles like a classic Aerosmith cut.

It’s a cliff note record, but “Dead Man’s Will”reaffirms thestrength in this unique partnership, offering just a taste and leavingyou thirsty for more from Sam, Joey and Co.

JamesMcMurtry proves to be ever reliable, and consistent, when it comes tosharply written songs in a distinctive style that is unmistakably his.The title track on Childish Things, his first studio album in 3 years,begins with a line that`s as idiomatic as anything he`s every written:"Aunt Clara kept her bible right next to the phone in case she needed aquote while she talked to someone." He gets the most from every lineand each one draws interest and imagery. This self-produced releaseoffers 12 consecutive examples of his lyrical mastery, with edgymusical performances of rootsy rock that are understated yet mightyflavorful. While he shies away from more overt political ranting acrossthe board, he does funnel the whole load into the fantastic "We Can`tMake It Here", which plays like the "true" state of the union accordingto James McMurtry. It`s one of the most backhandedly poignant andpertinent songs he`s ever written. - Robinson, Miles Of Music(Compadre)

Thelatest release from So-Cal roots-pop quartet Limbeck keeps exhilaratingmomentum as it wends its way from one memorable gem to another. Afterkicking off with a couple of punchy and twangy roots-rock burners, eachlightly honed with pop flourishes, the band eases into a bristlingwarmth that flirts with dark introspection yet never looses its senseof joy, not unlike the Old 97`s. Urgency mixes with pop reverence, andwith strong undercurrents of Southern and California country-rockLimbeck strive to be an amalgam of that which they love; and in theprocess reveal their own vibe. The disc`s sonic sharpness and theband`s irresistible and organic energy may be attributed to theirworking with the production team of Ed Ackerson (Juliana Hatfield, TheWallflowers) and the Jayhawks` Gary Louris, both of whom contributeinstrumental and vocal flair throughout. Be it there or back on life`slong road of mystery and wonder, this terrific record proves to be amore than amiable co-pilot. (Doghouse)

MackStarks attributes the underlying tension of Blind Spot to "our hero"who "is paranoid that the one he loves is lurking in that place ofmystery. Because not all of her is seen, he doesn`t really know whather intentions are." That feeling comes through well enough on BlindSpot, but it`s coated with sprinkles of rock sugar. This 10-song setwas crafted along with fellow Nashvillian Neilson Hubbard, who handlesthe guitars, keys, loops and backing vocals, as well as co-writing halfof the tunes with Starks. There`s also a track co-written with DireStraits co-founder David Knopfler and a Neil Young tune ("DepressionBlues") for good measure. Starks sings with a Jeff Tweedy-likeweariness/coarseness, and on the opening title track it seems a mostnotable comparison. The music shares a bit of Wilco`s penchant forbaroque infused roots pop while mostly sustaining a hushed and breezyhopefulness, ala Josh Rouse. But Starks has his own thing for sure andwe urge you not to let this one get lost in your rear-view mirror.(self-released)

It’sunderstandable that so many compare Rosie Thomas to SarahMcLachlan. Both write confessional piano ballads, have a knack forcrafting beautiful melodies and sing like nobody's business. But whileMcLachlan appeals to the corporate everywoman who buys three CDs ayear, Thomas’ target audience is the indie chick who keeps her hundredsof records arranged alphabetically and by genre. The big difference?Thomas’s heart breaks cerebrally, not just emotionally. She sees lifeand love through stark, gritty eyes that examine harsh realitiesMcLachlan simply glosses over.

Infact, Thomas’s songs - check out “Guess It May” and “Death Cameand Got Me” - are so bleak she often incorporates a comedy act in herlive shows to temporarily lighten the mood. That said, probably thebest track on If Songs Could Be Held is a cover of theeternally sweet “Let It Be Me.” Thomas’s duet version is moresaccharine than the Everly Brothers’, but no matter. It‘s damn finemusic. So good, really, that it more than excuses some of the tracks -most notably, “Say What You Want” and “Time Goes By” - that blendtogether anonymously. In all though, Thomas's fans will be pleased toadd this to their collection.

What’s more remarkable on Jacksonville City NightsisAdams’ very real attempt at putting interesting twists on the classiccountry formula. He adds his thin, off-key vocal nod to Jerry Garcia on“A Kiss Before I Go,” and the tune comes off like some long-lostouttake from Workingman’s Dead. He borrows the melody ofDylan’s Nashville Skyline-era “I Threw it All Away” for thealbum’s best song, “Hard Way to Fall.”

As contrived as Adams’ best tunes are, he sings themwith all thepassion in his restless country soul, sliding into a Jeff Buckleyfalsetto for horn-drenched story-song “The Hardest Part,” and spittingout the words to the harrowing, Irish folk-tinged “Peaceful Valley”like Violent Femme Gordon Gano.