AllMusic

The genre is indie folk, gothic folk, and country folk.

And I'm going to read...

From AllMusicReview, Greg Rounds, Bonnie Prince Billy's album I See a Darkness seems to pick up where Will Oldham's 1997 album Joya left off, a more melancholy style than the Veteran Palace listener might be used to.

Oldham definitely hasn't abandoned his foundation of mordant lyrics and minimalism arrangements, but he has built a variety of different layers that make this album an emotional and pleasurable listening experience.

In Nomadic Reverie, Olin draws upon his classic Appalachian sound.

Who's the Blonde Stranger hit number 37 in country, and Bigger Than the Both of Us hit number 58 in country.

Our All Music review by William Ruhlmann: Jimmy Buffett scored four consecutive gold or platinum albums in the second half of the 1970s, but the first half of the 1980s has not been so friendly to him, in record stores at least.

On tour, things have gone just fine.

So Riddles in the Sand, Buffett seems to have determined to take another shot at the country market, hooking up with producer Jimmy Bowen and Tony Brown, plus Buffett's touring keyboardist and frequent songwriting partner Michael Utley, and returning to Nashville.

And even the critics stand.

Rolling Stone called it an impressive entrance, and AllMusic praised her substantial vocal presence.

We don't typically care what the critics think,

but

This second album was again avant-garde and experimental sounding, building on what they started with that single Teeth.

In a review from Chris Nixon of AllMusic...

Even though they began in the Leeds punk scene, the Mekons never sat comfortably in the straight jacket of punk, and by 1980 they'd largely broken out of it, with keyboard the main instrument on this, their sophomore album.

Traces of the old persist as on I'm So Happy, but even there they were tweaked outside the norm.

Every song is an attempt to find someone to talk to.

And the Gazette listed the album as the eighth best album of 1986.

AllMusic called the album one of Mekon's finest efforts, writing that, The Mekons supported the album with a North American tour.

And as the group's profile grew, they struck a deal with U.S. independent label Twin Tone.

There's a couple of little quotes here.

So, critic reviewer for AllMusic, James Christopher Monger, wrote, "...Motley Crue have been trumpeting their hedonism for so long and so loudly that it's become more a caricature than a way of life.

And while Saints of Los Angeles is the best thing they've laid to tape since their codpiece heydays, it's more of a walk down memory lane slash sunset strip than a legitimate call to arms." bram titleman of billboard said while not every song is a winner the title track and sleaze out anthem this ain't a love song are standouts so yeah i'm not brilliant but okay basically

some of that was really harsh yeah i mean really harsh okay well let's see we've done critical reception so now let us move into the cover

Over the years, he's appeared at Farm Aid, Stagecoach, Hardly Strictly Bluegrass, and Wilco's Sky Blue Sky Festival.

AllMusic calls him one of the premier songwriters of his generation.

The Bluegrass Situation, our host network, has written about him as a musical Swiss army knife.

Pitchfork has written that he and his musical partner in the Jayhawks, Mark Olson, sang like they were born joined at the throat.

Uh, "Christmas" was praised by critics.

Uh, Richie Unterberger of AllMusic called it an excellent song.

Rolling Stone's Mac Randolph said it was one of several, quote, "prime Pete Townshend songs on the album." A review in Life by Albert Goodman considered it beautiful, and highlighted the song's croaking chorus.

James Perone said it was perhaps one of the best sleeper tracks in this collection.