The Promise - 4.5 Stars out of 5

This album reminds me of T.S. Eliot’s poem, ‘The Wasteland,’ in that no one fully understands it, but the majority of those who read it declare it to be brilliant. As with that seminal poem, the lyrics written by Corinne West on this recording resound with original and coruscating imagery, but remain equally obscure.

The vowel sounds created by the arrangement of her words enhance the mood of each song and its melodic quality in such a way that they become virtual mouth-music, where the real enjoyment is then gained from the collective sound of voice and musical backing. Every cell in her body transmits a contagious rhythm that is easily detected and fully exploited by the musicians around her.

A feeling of sweet melancholy pervades the whole album which, for me, makes it ideal night music with...you know... a glowing fire, a large glass of red and a sumptuous sofa. The musicians on the session are of the highest quality, including Doug Cox, who accompanies Corinne on tour and plays very tasty and original licks on resonator guitar; and the inestimable John Reichman on mandolin. Drums, bass, violin, trumpet, piano, organ - they’re all there and all beautifully played by a cast of consummate musicians.

The only track on the album not written by Corinne is that fine Fred Niel composition, Everybody’s Talkin’. The one sung (I would have, until now, said definitively) by Harry Nilsson for the 1969 movie, Midnight Cowboy. Corinne’s interpretation is startlingly original, with her complete disregard of its original dependence on the catchy use of a major 7th chord - without which I would have been sure that the song would not work. Don’t you believe it! She sails into the song in her own inimatable fashion and makes it her own. Why she chose only this one cover I don’t know but it blends with the rest of the album’s content and probably reflects her view of the world as it whizzes past her on the road.

The only criticism I have of this production concerns its presentation; as mentioned earlier, the lyrics are obscure but wonderfully poetic. So, in an attempt to better appreciate them, I opened the accompanying booklet to follow them as I listened to each song, only to find that the words are at best, difficult to read and at worst, completely illegible. The graphic designer, in an attempt to create the mood of the album, has sacrificed function for creative, graphic imagery. i am of the mind that good design only exists where function and aesthetics are successfully combined.

Regardless, this is still a fine album and well worth acquiring.

Tom Travis, Country Music People Magazine, UK November 2009

A Bob Harris favourite here.

Coming from California, singer/songwriter West sounds surprisingly anglicised on this, her third recording as previous records were more in a bluegrass country vein. On this outing there is a temptation to see her as cast from the same mould as such quintessentially a British artist as Sandy Denny. The music on this album is folky, reminiscent of late seventies UK folk rock especially the drumming (by Phil Wipper) and with some jazz inflected guitar runs that remind one of Bert Jansch playing electric.

West writes all but one of the songs here (a cover of Fred Neil’s Everybody’s Talkin’ is essentially unnecessary) and they range from good to great. “The Stranger” is a song that could fit in the Richard Thompson canon with supple and sinuous bass playing and a lyric that plays around with feelings of alienation and poverty. “The River’s Fool” has a tremendous intro and with its water motif casts ripples into a reflection of some of Nick Drake’s melancholia. She excels on “Lady Luck,” which swirls and weaves with snappy guitar runs, malleted drums and plays with time signatures just as Pentangle did all those years ago. Closing song “Turn The Wheel” lyrically returns us to the American landscape with its mentions of Tennessee and Texas but it can’t escape the overall debt and homage to classic folk rock that infuses the album and is all the better for it. Very impressive.

Paul Kerr, AMERICANA, UK

Californian songwriter Corinne made quite an impression on me with her last album Second Sight (and sadly but inevitably, I’ve still not tracked down her first), but The Promise is even finer: a spectacularly haunting record that’s both quite different from Second Sight and yet recognisably cut from the same cloth.

For a start, Corinne’s gorgeous – and unmistakable – singing voice is the ideal vehicle for her gripping yet simply voiced songwriting (let’s face it, not all songwriters can boast that killer combination!). But whereas on Second Sight Corinne ingeniously took a loosely folky-bluegrass template and gave it a certain gloss of commercial appeal, on The Promise Corinne harks back to the golden age of late-60s west-coast singer-songwriterdom, this time placing her poetic creations in a more sparse (though actually quite rich-textured) folky-Americana setting. On these nine new tracks (eight originals and one cover), Corinne communicates an even fresher immediacy and honesty, her smoothly contoured and yes, highly sexy (not a word I use lightly!) delivery hooking you in close and true, and straightaway, never letting you go. It’s like you’re lyin’ there beside her in the dappled sunlight taking in her confessionals. Although Corinne was, we learn, greatly inspired by the beauty of the recording location, a remote cabin by a secluded lake in British Columbia, and each song shares a glorious intimacy of purpose and genuinely relaxed execution, equally every track’s got its own distinct atmosphere. The album, co-produced by Corinne herself and slide-guitarist Doug Cox, uses an entirely different support crew from Second Sight (here including Daniel Lapp, Jennifer Scott, Phil Wipper and James Nash), and individual instrumental colours are sparely deployed – but how! The settings are full of presence yet at the same time unobtrusive – contradiction tho’ that may sound. Stylistically, the closest track to bluegrass here is the lovely Lily Ann (nice mandolin from John Reischman); the rest take their cues from classic west-coast Americana. I’d never consider charging Corinne with being in any way that counts derivative, although she perhaps betrays a slight hint of early Joni Mitchell on Lady Luck and the soft dynamics of the title track. The slinky slow-waltzer The Stranger is an eloquently soulful, riveting study in alienation (Rene Worst’s double bass playing on this track is outstanding), and The River’s Fool (another highlight) is one of those timeless philosophical-insight pieces (and it sounds a bit like prime Judy Henske too). The deceptively gentle ripples of Turn The Wheel and the pounding desperation of Pollen are two more choice cuts, while Corinne’s resignedly weary take on the Fred Neil song Everybody’s Talkin’ is a stroke of genius. The Promise is a work of deep feeling and deep inspiration, on which Corinne’s sure excelled even her own previous high standards.

David Kidman, FOLK AND ROOTS

Californian troubadour returns with her third release, and I believe her best work yet.

JC, Maverick Magazine, UK

5 stars!!! After the success of her last two albums BOUND FOR THE LIVING and SECOND SIGHT Corinne West returns with the superb THE PROMISE. The album shows a distinct change in style yet retains her signature riveting vocals wrapped up in powerful lyrics. Recorded in a lakeside cabin in British Columbia just outside a town called Harrison Hot Springs the stunning setting obviously brought out the best in both Corinne and the other musicians involved. The nine tracks that make up THE PROMISE are all bar one from the pen of Corinne West, the only cover being a version of the Fred Neil penned hit Everybody’s Talkin’, Corinne breathing new life into this superb song. Of the original material highlights for me include the haunting deep groove of The Rivers Fool, the gripping waltz that is The Stranger and the glorious Lily Ann, a track with just enough Dobro to make it country. Corinne’s co-producer on THE PROMISE is Doug Cox who also handles guitar duties on the afore mentioned Everybody’s Talkin. Other guest musicians include Daniel Lapp on violin and trumpet who has in the past worked with Rickey Lee Jones, bassist Rene Worst known for his playing alongside David Bowie and Chet Baker and not forgetting guitarist James Nash who I know from working both with The Waybacks and the Grateful Dead’s Bob Weir. So a pretty stellar line-up perfectly suited to backing Corinne’s superb vocals. You could best describe the music on THE PROMISE as West Coast acoustic soul music with a touch of country and jazz thrown in. There really isn’t a duff track on this release and with a UK tour starting in late August accompanied by Doug Cox I for one will be at the head of the queue to get a ticket to one of her shows.

JC, Maverick Magazine, UK

Corinne West, The promise

Corinne West indeed is from the Western parts of the USA, California to be exact. With the release of her ‘The promise’ she presents to us her third CD, after ‘Bound for the living‘ (2004) and ‘Second sight’ from 2007. And this ‘The promise’ is a lot more than just a promise, it is a nice surprise. Corinne’s voice reminds me of these of Kate Wolf or Caroline Herring, but is sexier than either one of these well-known icons of folk. Especially in the songs ‘Pollen’ and ‘The stranger’ this fact is evident, and even more so because both songs have a beautiful jazzy bass-line laid down by Rene Worst. Talking about sexy jazzy songs, Corinne’s version of the Fred Neil classic ‘Everybody’s Talkin’ (remember Nilsson’s version in the movie ‘Midnight cowboy’ at the end of the 60’s) is undoubtedly the most sexy cover of this song with that jazzy bass again Apart from this cover all songs on ‘The Promise’ are originals by Corinne and they are extremely good songs. Next to the mentioned jazzy songs Corinne is mostly folk- and bluegrass orientated. The lovely ‘Lily Ann’ is both folk and bluegrass with Doug Adams’ fiddle providing a quiet and subtle background. The wonderful ‘Whisky poet’ has a great accompaniment on guitar and ends with a fiddle emerging from the background. This wonderful song is one of the highlights of Corinne’s new duo performance with Kelly Joe Phelps. The absolutely beautiful epic ‘Lady luck’ is enlightened with a fine slide guitar and in the closing ballad ‘Turn the wheel’ Corinne sounds more sultry than ever and it has a pretty guitar- and mandolin line too. And last but not least: Corinne’s lyrics have an intense poetic beauty, as is shown is these lines from ‘Whisky poet’: “Four dozen roses, blue lights in Georgia, dressed in captivating eyes. With that denim on your thighs. Hey whisky poet, of the backbeat, ah the streets they turned to sand. I took the night, I took your hand, I see your colors, you took some chances. How the silence is your friend, as will I be in the end”. ‘The Promise’ is a wonderful CD, full of longing for beauty and because of that a sheer beauty itself. It is a direct hit by a wrongfully unknown singer-songwriter.

Fred Schmale, Real Roots Cafe

Just listened a couple times through to 'The Promise'. LOVE LOVE LOVE LOVE IT. DIG IT! If some see it as a change in style, I don't know...I see it as Corinne. Evolved. …A move that feels to me both bold and comfortable at the same time. 'The Promise' is powerful, beautiful, insightful. Her singing on 'Everybody's talkin'' knocked me out. With each record, Corinne has set the bar higher, and with each new recording she has flown right over. With 'The Promise' she has stretched out her feathers and shown us more. Corinne has flown again! A beautiful piece of work.

David Gaw, Ridge Road House Concerts, Golden, CO.

The fact that, on the cover photo of her peeking out from under a cap, she resembles Anna Friel is more than enough to get my attention, but it's what lurks within the album sleeve that keeps it.

If, like myself, you've not heard the Californian's two previous albums, it apparently makes no difference since her third marks a change of style from country-bluegrass to a more acoustic jazz-folk, West-Coast-Soul feel, while Pollen even partakes of a cocktail of trad folk and fiery Spanish flamenco.

Recorded at a lake shore studio in Canada, the landscape feeds into the album's relaxed atmosphere and sense of space through which her smoked honey voice - a grained crossweave of Margo Timmins and Natalie Merchant with notes of Tracy Chapman, and just a tinge of early Joni - flows with fluid purity.

As the rippling Lily Ann shows, her Appalachian bluegrass affections haven't been entirely snubbed but it's the folkier end of the Americana spectrum that holds sway, splendidly so on numbers such as the title track's song of endurance, the upright bass accompanied slow waltzing travelling soul's lament of The Stranger, and the many walked roads and turning of the year meditation on life that is Turn The Wheel.

Whether dealing direct as on Whisky Poet or trading in the imagery and symbolism of the sultry folk blues Lady Luck and the 60s baroque folk pop ballad The River's Fool (where she sounds a little like Judy Henske), she writes insightfully and resonantly about matters of the heart, soul and existence. And, with tasteful guitar work from co-producer Doug Cox, as a languid, bone-weary cover of Everybody's Talkin' that conjures smoke curling rainy dawns and slow lapping streams, shows, she has an inspired ear when it comes to interpreting others experiences of the world too.

Mike Davies, Net Rhythms, UK

Just three records in and The Promise, confirms Corinne West’s place among America’s finest young singer-songwriters. Coupling a voice to die for with beautifully crafted songs that are memorable both lyrically and melodically West has fashioned a unique identity within American music’s acoustic/roots scene. This time out, by conjuring more spacious, atmospheric arrangements that place West’s sublime vocals way out at the front of the mix West and co-producer, Canadian slide guitar ace Doug Cox, have tweaked the blueprint established on 2004’s head-turning debut Bound For The Living and its stunning 2007 follow-up Second Sight, to telling effect. Reflecting on the differences between The Promise and her previous records West comments: “It’s not a new direction but it’s as if I’m now painting with a wider sonic brush”. So fans fearing a major departure need not be alarmed - West has not deserted her roots but rather honed her production skills to cut her most ambitious and enduring record to date. Awash with highlights such as the achingly beautiful title track, the tender, darkly compelling ‘Pollen’, the deliciously brooding tension of ‘The Stranger’, a wistful reading of Fred Neil’s classic ‘Everybody’s Talkin’’ and the hauntingly brilliant ‘The River’s Fool’ The Promise pulls you irresistibly back for more.

Colin Hall ~ R2 ~ RocknReel ~ The UK’s best selling eclectic music magazine

4.5 Stars (Out of 5)

Corinne West left home at the age of fifteen, guitar in hand, to travel and live with a group of traveling artists and activists. The restless spirit that drove her to that decision continues to motivate West today. As an established singer/songwriter whose won critical acclaim, you still get the impression that West gets a bit antsy if she's in one place for too long. That rambling spirit runs all through her third album, The Promise, coming November 2, 2009 on Make Records. Produced by West and Canadian musician Doug Cox, West sings from the heart with a voice that's both road-weary and jubilant at the wonder of life.

West opens with The Promise, a soft and wonderfully nuanced song about perseverance. West's voice is of earth and sky, as elemental as the heart that beats inside of her, and fills the listener with a sense of time and place that is hauntingly familiar and yet as alien as the horizon of another world. Pollen is a song buried deep in allegory. There is a love gone wrong here; the classic tale of an interloper (told in the first person) who regrets what she's done only after the consequences are abundantly clear. West tells the story in such personal terms it's as if she's living it. Having been a road warrior for some time, West knows what it's like to walk into a strange small town and look thoroughly out of place. The Stranger is a monologue on this very subject. With a haunting melody and poetic lyrics, West takes you inside of those you might see passing through your town. Lily Ann is a love song written in classic country style, even pulling in some bluegrass style backing vocals. The arrangement is nothing short of gorgeous.

The River's Fool is homespun wisdom from someone who has spent time traveling on it. It's another wonderfully nuanced and intelligent song with a gorgeous melody. West lets her warm, expressive alto wrap around Harry Nilsson's Everybody's Talkin' in an unforgettable performance that's likely to generate a lot of buzz. And if you think Everybody's Talkin' is splendid, wait until you get to Whiskey Poet. This is a pure masterpiece of songwriting. Expect Whiskey Poet to be covered ad nauseum by other artists in the near and distant future; it's a classic. Lady Luck is an ode to its namesake, done in a powerful Americana arrangement that is not easily forgotten. West then closes out The Promise with Turn The Wheel, a song about the cyclical nature of time. Turn The Wheel is an amazing bit of songwriting, full of wisdom, nuance and maturity that seems beyond West's years (but is obviously not).

Corinne West is special. There are a number of great songwriters in the Folk world, but West has a gift for making the moments and people in her songs come alive. She writes wonderfully; her arrangements are gorgeous, and her voice draws you in, wraps it's arms around you and doesn't let go. The Promise is destined to be one of the top Folk albums of 2009.

www.wildysworld.blogspot.com

The album ignites from the speakers like the burst of a flame, immediately sending one back to the simpler times of campfire tales, rocking chairs and horse drawn carriages. Corinne West's voice glides effortlessly over the bed of expert musicianship, powerfully crafting interwoven melodies to rest your weary thoughts on. The songs are uplifting yet possess a calming comfort, giving the album the energy of a refreshing breeze.

"Hand Full of Gold" stands out as a crafted masterpiece, painting the picture of an unwelcome sunrise to a confessing soul dreading an overwhelmed day. While we can all relate to such pressures, the message of the song is a balm for lost love and dented aspirations - a beautiful, poetic tribute to finding one's way where the crescendo interlude wins praise for the space between the notes and its ability to guide one on their path towards the mountainous horizon ahead.

West has assembled an all-star cast of legends for this studio effort including producer Mike Marshall, Jerry Douglas, Tony Furtado, Darol Anger, Todd Phillips, Chris Webster, John Burr, Scott Amendola, Anne Bacon and Charlie Edsal. It's clear from the output that this ensemble has clicked on many levels, and one can only hope that this grouping will meet again for encore performances with West in the live setting.

If you didn't know her name before, Second Sight is sure to put Corinne West on the map and garner repeated listens as you settle down from that hectic day, kick up your feet and dream of better times.

Andy Gadiel, JAMBASE

With Bob Harris already amongst her fans, this album could be a catalyst to greater things. If you love bluegrass music, but with a smattering of folk, rock and Americana thrown in for good measure, then you will adore this album.

Corinne West is a brilliant songwriter with a powerfully eloquent singing voice. Whether she is singing a real heartfelt ballad like Roses To Rust, or a barnstorming bluegrass number like Diamonds To The Wind her vocals are high class. All Good Things is a fabulous folk song with a Celtic feel to it, and the title track is another great bluegrass tune with very strong and impacting lyrics and vocals.

To make this album even more inviting to the record buyer is the top class musicians that Corinne has called upon to help out. Mike Marshall plays some amazing mandolin throughout, there is also the scintillating fiddle playing of Darol Anger, Tony Furtado on banjo and slide guitar, plus the world renowned Dobro master Jerry Douglas adds his talents to the proceedings. This past year has seen the releases of some very high quality bluegrass albums, this one can also be added to that list. DK

MAVERICK MAGAZINE

Talent. Pure talent. Corinne's style is a mix of bluegrass, traditional country and folk. A great combination. Her vocals are best described as a folksy Loretta Lynn mixed with Tanya Tucker. A perfect example of this style is included in "Lost & Found. " Other songs included on this unique album are "Eye of The Storm," "Hell Yes," "Hand Full of Gold," and the title track. However, the best song would have to be "Cabin Door. " This is a beautiful song with a strong message. A message of hope and kindness, of a time gone by. West extends her vocal talents in a bluegrass Irish diddy with "All Good Things. " Through this album, Corinne West takes the listener through a journey of life filled with wisdom. This album is an acoustic album filled with extraordinary talent.

STRICTLY COUNTRY

It doesn't suck to be Corinne West. She writes great songs, plays with top flight musicians, sports a killer voice and oh yes, has sultry good looks- she could easily be cast as a princess in a "Lord of the Rings"-type movie (hopefully a singing part). The recently released Second Sight is Corinne's second CD, both of which have been released on her own label, Make Records.

Corinne grew up in Northern California, but caught the wandering bug early on, dropping out of school at 15 to travel with a group of wandering artists and activists in a bus. Her grandfather helped instill a love for music even earlier than this, teaching a young Corinne the two-step in honkeytonks before she was even a teenager. Busking and bands followed the bus trips, but eventually she wanted the freedom of running her own show.

She is joined on the CD by a stellar group. Mike Marshall plays mandolin, Tony Furtado on slide guitar, Darol Anger on fiddle and Jerry Douglas on dobro to name some of them. I don't own every album Jerry Douglas has played on (who could?), but I can say I've liked every album I've heard that he is on. If I'm considering a CD and I see his name on it- deal done. I don't think he would let himself be associated with bad music. For Corinne to get him to play on just her second CD said a lot to me before I even gave the disc a spin.

The CD is a great collection of songs that range from frenetically paced bluegrass tunes to beautiful soft songs such as the closer Writing on the Wall. The other side of the Atlantic has already discovered West, and she toured England and Ireland earlier in 2007. She says this trip influenced her writing which is evident in the song All Good Things which definitely has a bit o' the Irish feel to it. Other highlights of the CD are the opener and title track "Second Sight," "Diamonds to the Wind" and "Gandy Dancer," all three of which are uptempo with some great playing, yet Corinne's voice never sounds strained or rushed. There is not a bad song on the CD. With this much talent and drive, I imagaine Corinne West will be an important artist on the music scene for some time. I hope to be able to review another CD of hers in the future here!

AMERICANA ROOTS.COM

Ok, Americana fans, if you aren't familiar with West yet, stick around and you will soon be. An organic success story on the rise, her writing and singing are so on point that her career is blossoming from the attention of fans with juice. For her second set, she got Mike Marshall to produce and he brought along the whole classic NAC team that he cut his teeth with almost 30 years ago, all of which have gone on to be genre definers.

Her international rep has grown by Beeb djs making her a personal crusade. This is the kind of hype that goes with rock records that wind up going nowhere, but perhaps Einstein equations are at work in the Americana world as it's provoking an equal but opposite reaction. This is a completely delightful set that demands your attention if you are looking for songs with something to say you want to hear again and music that is second to none. A stone cold winner throughout.

MIDWEST RECORDS.COM

I'm guessing you've never heard of Corinne West. I sure wasn't familiar with her when i received her new CD, Second Sight , in the mail. West, who took to the road at the tender age of fifteen is a masterful songwriter, winning awards at Kerrville Folk Festival. She has a distinct voice with echoes of another Californian, the late Kate Wolf. Educated on the streets West has a raw sincerity in her lyrics and her singing. For her second disc she chose Mike Marshall, a perennial performer at Telluride Bluegrass, to produce it which gave Corinne access to an A list of bluegrass musicians for the sessions.

Jerry Douglas is hot on his Dobro and Tony Furtado takes the banjo licks on the title track, a hot contemporary bluegrass tune. The autobiographical "Hell Yes" features Darol Anger on fiddle with Furtado on slide and Marshall on the mandolin. It's a get up and dance number. Celebrating a mountain top retreat where the "Cabin Door" is open welcoming friends and neighbors West makes you feel like you are sitting on the porch. It's a bluegrass breakdown on the toe tapping "Gandy Dancer". A heartbreak ballad, "Roses to Rust" is an old time blues song until the organ kicks in updating the sound. Bouncing to a two step beat, Marshall leads on guitar on "Lost & Found. Douglas's Dobro lends that high lonesome sound to the melancholy of West's voice on "Eye Of The Storm". Smoking bluegrass, "Diamonds To The Wind" with solos passed around brings in the whole band behind West's sharp phrasing.

Corinne West is on her way up. Great songs and powerful singing are going to take her far. Being able to collect a razor quick band for accompaniment on Second Sight is icing on the cake.

Dave Bowman,MONTROSE DAILY PRESS, COLORADO

NO DEPRESSION

CORINNE WEST, Second Sight (Make). Corinne West's decision to allow renowned mandolinist Mike Marshall to produce her second album was a wise one, as he has pushed her to excel in ways she probably never thought possible. West's clear voice and emotional delivery are compelling, and she has a lot to say as a songwriter. There is a thread of confidence that pervades Second Sight, from the leadoff title track through the gospel inflections of "Roses to Rust. " Neither pure bluegrass nor folk, West's repertoire covers a wide range that demonstrates her comfort with various genres. With backing by a who's who of acoustic pickers (Marshall, Jerry Douglas, Tony Furtado, Darol Anger), she has found a sound that fits her work.

JAMES KELLY

Corinne West is a California singer-songwriter whose music is contemporary folk in a bluegrass style. After producing her own debut album, she has made her sophomore release Second Sight with producer Mike Marshall and a stable of some of the best contemporary musicians in the genre. With world-class musicians like Jerry Douglas on dobro, Darol Anger on fiddle, John Furtado on banjo and slide guitar, and Marshall on mandolin, it'd be easy for a young, relatively inexperienced singer to be overwhelmed. That's not a problem for West, whose sturdy songs are matched by her slightly husky alto, which she's capable of kicking up a notch to an Appalachian-style holler.

The songs come in a variety of styles, including fairly straight bluegrass of the opener "Second Sight," the railroad ballad "Gandy Dancer" and the metaphysical meanderings of "Diamonds To The Wind. " "Hell Yes," an autobiographical sketch about hitting the road and following your dream, is a sprightly shuffle with strong rhythm set by the double bass and a brushed snare; "Hand Full Of Gold" is a slow love ballad; and "Cabin Door" is a stately waltz-time "non-religious prayer" about her home. The highlights are the slow gospel burn of "Roses To Rust," complete with soulful organ, about leaving when your heart hits the floor; and the honky-tonk "Lost & Found," which would be right at home on a Linda Thompson record. These two songs, at tracks 6 and 7, would be a great double-sided single in the old days.

Corinne West has a lot going for her, especially songwriting and vocal chops, and it shows in the company she keeps. Watch for more from her, but don't miss this one.

Gary Whitehouse, GREENMAN REVIEW

For the second straight time, Corinne West has landed on our best-of-the-year lists at Jefferson Public Radio. Second Sight continues to place her among the most masterful Americana singers and songwriters, and the stellar cast of musicians surrounding her support her elegant work with absolute grace. Indeed, one of the best albums of the year. Ain't nuthin' but the truth.

Eric Alan, Music Director, JEFFERSON PUBLIC RADIO

Corinne West is a throwback to a time when a delicate voice and acoustic backing were the epitome of good music. But rather than a nostalgia trip, Second Sight reaffirms that this timeless simplicity remains vital, even in the 21st century. With supple bluegrass backing from a who's-who of bluegrass veterans including Darol Anger, Jerry Douglas and Tony Furtado, West finesses her way through 11 compositions abounding with humble imagery and stoked by compositional clarity.

Heartbreak and redemption fare equally well on Second Sight, beautifully breaking the title track and setting "All Good Things" free. Branded with West's strong-yet-understated voice, Second Sight encapsulates the foregone simplicity of American music; a simplicity that begs to be revisited, which West does, delicately drifting across a refreshing string-picked breeze.

Jamie Lee, RELIX MAGAZINE

Corinne West's self-produced, critically acclaimed, debut album, "Bound For The Living," earned her a reputation as one of the most successful songwriters to emerge on the Americana scene over the past few years. She took that reputation with her into her sophomore project and brought in Mike Marshall to produce "Second Sight," her brand new album. With Marshall behind the glass, Corinne West focused on her songwriting and as good as her debut album was, "Second Sight" takes everything she has already accomplished to the next level.

With a heavy dose of bluegrass influence thrown into the mix on songs like the up-tempo "Hell Yes," and "Gandy Dancer" to name a few, West will continue to gain accolades from the industry, but she also gives you a taste of her two-stepping influence on tracks like "Lost and Found," and continues to impress with her crafty songwriting on songs like "Second Sight," Eye of the Storm," etc…West enlisted the talents of Jerry Douglas, Darol Anger, and Tony Furtado to help bring her wonderful lyrics to life and combined with West's passionately delivered vocals they have more than delivered. Corinne West is the real deal and while the mainstream may shy away from music like hers, this is certainly an album that is well worth your time.

GONE COUNTRY MAGAZINE

How do you compete/follow up against a spectacular first release? If your name is Corinne, the answer's simple: release something titled Second Sight . A couple of years in the making, the wait was worth it. That dynamic voice is even better this go round: this girl can sing! Mainstays Mike Marshall on mandolin and Todd Phillips on bass are incomparable; add a guy that fiddles like Darol Anger, rope in Jerry Douglas for some dobro work and there's a combination that's hard to beat. Listening to the instrumental interplay of the breaks on these tunes is about as close to heaven as a bluegrass aficionado can get. The only thing that I could carp about here is that the disc is too short. Bluegrass is not my forte , but I could listen to music of this quality for hours.

Don Grant, FREIGHT TRAIN BOOGIE

Way out West and Outta Sight

Hailed by Bob Harris, Corinne West's second release 'Second Sight' is full of true country music and themes. Corinne's debut record 'Bound for the Living' was widely acclaimed on this new record her voice and song writing confirms the arrival of a real talent. On this record West is joined by a cast of top musicians (Tony Furtado, Jerry Douglas, Darol Anger, John Burr) and the record has been produced by Mike Marshall, reflecting the growing number of fine female singer songwriters coming out of the US, in stark contrast to the UK where we are weighed down with Katie Mulea's MOR schlock courtesy of Mike Batt.

Fiddle, mandolin, banjo, dobro and slide guitar all mesh together to enhance West's fine voice and personal lyrics. The record begins in familiar territory with the title track, as she explores her own story of growing up in America, leaving home on 'Hell Yes', while other themes explored include the timeless lost love (Hand Full of Gold' & 'Roses to Rust'). One of the key songs is 'Gandy Dancer' where West retells her story of meeting a Gandy Dancer (a railway worker aged 91 who tells Corinne of his life laying down the railroad lines in the North West).

Corinne joins Kendel Carson as one of the finds of 2007 – thanks Bob!

AMERICANA UK

Thanks to the success of albums like the soundtracks to Oh, Brother Where Art Thou? and The Divine Secrets of the Ya-Ya Sisterhood, as well as the appeal Alison Krause and Dolly Parton, mountain music is an alternative genre of country music that has inched its way slowly into the mainstream. Corinne West, a rising star who has garnered more accolades than hit records or sales, is one of the new generation's stalwarts, keeping the tradition of the rootsy music while gracefully introducing it to new generations.

West's sophomore album, appropriately titled, Second Sight, is a collection of strong songs that combine the artfulness of singer-songwriter folk with the stunning soul of bluegrass – a wonderful mix that results in one of the most idiosyncratic, though enjoyable country records of the year. Eschewing the glittery gloss of Nash Vegas, and avoiding the lyrical bombast and schmaltz of the country-pop that sells millions, West instead wraps her warm alto around strong intelligent lyrics that detail loss, love, and childhood. Her lyrics are intensely personal, though her simple and unadorned delivery makes them relatable. Second Sight is a minor classic-in-the-making, that should endear itself to NPR-listeners and those who seek out strong, organic records.

FEMINIST REVIEW

This is my first listen to this lady's refreshing singing. Second Sight by Corinne West is produced very well by Mike Marshall. The recording has a very bright tone with a heavy bass sound too, so it covers a lot of the music spectrum. West's voice really shines as she sings with confidence and emotion. She has some very good acoustic and bluegrass musicians on the CD. Jerry Douglas, Darol Anger and Tony Furtado add their instruments to the mix.

"Hand Full Of Gold" is a sweet poetic ballad with some great backup vocals. Really nice mandolin fills by Marshall, the producer. A very sparse, but full sounding song.

"Cabin Door" is another sweet bluegrass song with some very nice guitar and it is a song about living in a cabin high in the Sierra Mountains which she did. Douglas has some very nice dobro parts. The song references a river nearby taking all of the shame to the sea to cleanse it.

"Gandy Dancer" is a song that I like a lot. Up-tempo bluegrass with a nice story about an older fellow who worked for the railroad as a Gandy Dancer, now done by machines. West really is a talented songwriter, with some great material here.

"Lost and Found" has a great groove going on. Some neat acoustic guitar and some nice deep bass. Another very sparse song.

"Eye Of The Storm" has some beautiful vocals and a very catchy melody with sweet mandolin and dobro. The drums on this acoustic song are perfect. Some more really inspiring lyrics about the peace of being in the eye of the storm. The instruments have a really nice swell like effect going on.

"Diamonds To The Wind" is a great upbeat bluegrass kicker. This band really sounds good. A really nice bluesy guitar break and Douglas takes off on the dobro. Boy, really nice banjo pickin' too here. This CD reminds me a bit of Carrie Hastler and Hard Rain's CD from earlier this year.

West has written a great selection of songs here and I think her group along with the supporting cast make this disc special. It is real refreshing to hear some traditional based music that has a contemporary feel to it. This is her second CD, she produced her first CD herself. I see West as only getting better, a real great addition to the Americana market.

Jim Moulton, CSO Staff Journalist, COUNTRY STARS ONLINE

Some days I think that I've got one of the best jobs going, and the day that this disc hit my mailbox was one of them. If I was forced to label it, which I'm always a bit gun-shy of doing to anything anyhow, I'd have to call it bluegrass, but that's like calling Picasso a painter.

This lady has a voice that simply soars; think early Natalie Merchant after enunciation lessons. She's surrounded herself with a coterie of excellent traditional bluegrass instrumentalists, but the end product is anything but traditional, and that's what I love about the younger musical generation. While they respect the roots of their art, they refuse to be constrained by them.

Corinne takes a dash of folk, a bit of country, adds them to a bluegrass base and cooks up a style and product that is hers alone. Writing eight of the songs, and co-writing another, she displays a remarkable empathy for the everyday people and situations that comprise our lives in this real world. Either she has crammed a lot of living into her years, or she is one hell of a perceptive observer. I suspect a bit of both. Nonetheless, you can't go wrong with this one. 5 STARS!!

Don Grant ~ Freight Train Boogie

When I write I really try to avoid comparing the project I'm reviewing with other musicians and recordings. When I read one like that the comparison is weak or the reviewer references someone with whom I am unfamiliar. Sometimes though, I cannot help myself, especially when I think the comparison will be flattering. Such is the case with Corinne who has an extraordinarily beautiful voice and the comparison I'll draw is to Natalie Merchant. Both have a sweet, pleasing sound that somehow combines a breathy huskiness with clear, resonant tones. There is some similarity in phrasing and lilt. Both are excellent songwriters.

But Corinne is no cheap knock-off or imitation. Ms. Merchant is clearly in the pop rock genre, whereas Corinne's music, though very melodic, does not stray from a lively acoustic, folk sound. She is accompanied effectively by wonderful acoustic guitar picking, mandolin, bass, and, on a few tracks, fiddle and Dobro. James Nash of the Waybacks needs to be pointed out for his delightful and facile pickin' on both guitar and mandolin on this recording. Corinne arranged and sang perhaps the best version I've ever heard of the simple, heart-breaking, traditional song 'Railroad Boy. ' She has written touching "bookend" songs, 'Mother To Child' and 'Father To Son' in the best of old folk traditions.

Her best song is 'Angel,' which she points out she wrote on April 29, 2002; the only song which claims an actual day and thus must carry a special significance to her. This is one of those transcendent songs that transports us away from the minutia of our dreary day and lets us see into another world. While listening to this song, I'm almost remembering a dream. While listening to this song, my broken, cynical heart almost believes that miracles are possible. For there is magic in this creation, the magic of love and fear of lightness and darkness. . . and angels, blessed angels rescuing love. . .

The gathering of Angels in the streets
and in the towns,
In the cities, in the valleys in the fields.
They place the cold love that has fallen to the ground
In their wings,
That it may heal

You know, while listening again to this recording I think I had it backwards…it is Natalie Merchant who should be flattered at being compared to Corinne. "Bound For the Living" is joining my short list of the Best Americana CDs of 2003. And there are over 58 minutes of music on this CD.

Bill Groll for Austin Americana