Cheap Hourglass (Music) (Kate Rusby) Price

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Customer Reviews of Hourglass

a promising debut
Kate Rusby's deeply affecting voice, though it sounds like it only in the most general sense, brings the late and lamented Sandy Denny's to mind in its understated beauty, grace, and power. Those of us who love traditional music can only rejoice that this talented young woman has chosen folk music (and not "folk music" in the singing/songwriting sense of navel-gazing acoustic pop). One suspects that this CD, good as it is (its spare, tasteful arrangements border on perfection), only hints at what is to come. As it is, it's surely an impressive debut. When the song is a familiar one, as in the often-recorded "As I Roved Out," Rusby gets to its heart and makes it new. But when it's something unfamiliar, most notably "I Am Stretched on Your Grave" (as sad and despairing as it sounds), the effect can be close to overwhelming. On the other hand, the countryish "Radio Sweethearts" sounds a tad out of place, and while decent enough, her reading of the sea shantey "Old Riley" lacks the punch of some other versions (I think particularly of the Oyster Band's). All in all, though, this is a good and satisfying recording. I look forward to the next one, which we have reason to hope will fulfill the considerable promise of this one.

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God's Gift to Folk Music? Absolutely!
It has been years since I've been so moved by a piece of music in any genre (maybe not since I first heard Vivaldi's Adagio for Strings as background music to the film GALLIPOLI). Rusby's voice has that same ability to grab your heart at its core and hang onto it. The sound itself goes beyond intellect, reaching deep into your heart and soul; yet once you stop to focus on the lyrics, you'll be astonished all over again. "Annan Waters," "A Rose in May," and "I Am Stretched Out on Your Grave" have been playing over and over in my head when I'm away from my CD player. The subtle arrangements on this album meet perfection, enhancing the songs, the lyrics, and the artist's unique vocalizations. (A previous viewer couldn't be more right about the way the piano enters "Annan Waters.") Rusby's songwriting talent is equally awesome. If you aren't well-versed in traditional songs, you'll find it impossible to tell them from her newly penned gems. I first heard Rusby in an interview on NPR while driving home. (Unfortunately, this was at the end of her short US tour--please come back soon, Kate!). She was promoting her new album, LITTLE LIGHTS. With no hesitation, I turned off the highway and stopped at the mall to pick it. Since then, I've been tracking down everything Rusby has recorded, including Poozies and Battlefield Band CDs. LITTLE LIGHTS is a bit more polished than HOURGLASS; frankly, I prefer the latter for its rare combination of rawness and fragility. Kate Rusby is an incredible, unexpected talent. (Dare I say God's gift to folk music?) This HOURGLASS is one you'll keep turning over and over--you won't want it to run down.

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Wonderful debut, but she has improved!
While this is a wonderful debut album from one of the greats on the folk music scene today, I really must tip that her anniversary album "10" reprises the better half of this album with notable improvement to every track, rendering it somewhat irrelevant. "10" is really the album anyone should start with (it also reprises half of her second album, "Sleepless", as well as adding a few more indispensibles) and after that, her latest, "Under the Stars". If after those you still can't get enough, then you might want to look again at this album, whose other half is certainly worth having as well, but not as dire.