A collection of Alison Krauss's previous solo work... plus a few new songs!

I'm sure it's no secret here on Epinions.com that I love Alison Krauss's music. When I heard that she was coming out with a new solo album, A Hundred Miles Or More: A Collection on April 3, 2007, I decided to preorder it, even though I had already heard a lot of the songs on it. This disc includes 16 tracks, about half of which have been on a variety of compilation projects Krauss has participated in over the years. There are two duets with John Waite, including a duet of his hit song "Missing You", which was big about 20 years ago. The rest of the tracks are either previously unreleased or previously unheard by me.

Although this is a solo album for Alison Krauss, members of her band, Union Station, are also in attendance on this CD. The liner notes include commentary by Jim Bessman, detailed personnel listings for each track, and several pictures of Alison Krauss sporting a very feminine look with long, blonde hair. She's not quite as glamorous looking as she was on the Lonely Runs Both Ways CD, but she definitely looks softer and I daresay, girlish. There are no printed lyrics.

This disc starts off with the soft, dreamy ballad, You're Just A Country Boy. This song, which is previously unreleased, was originally titled "I'm Just A Country Boy" and was written by Fred Hellerman and Marshall Barer. Although Krauss is known for being a bluegrass artist, this song sounds more like adult contemporary music. It doesn't quite rate a country label and it's definitely not pop. Alison Krauss's voice is still as sweet and gentle as it's always been and this is a pretty song, but she's done others that I've liked better.

Simple Love is another previously unreleased song. Written by Sarah Siskind, who's written songs for Alison Krauss and Union Station before, this song picks up the tempo a bit and sounds more like contemporary country. Jerry Douglas contributes a sublime lap steel guitar, Dan Tyminski plays acoustic guitar, and Krauss provides her own harmony vocals. I like this song better than "You're Just A Country Boy", but it will probably disappoint anyone who's looking for a pure bluegrass sound.

Julie Lee and John Pennell wrote the next previously unreleased song, Jacob's Dream. I recognize Pennell as a former member of Union Station and the guy who wrote a lot of the earliest songs for Alison Krauss and Union Station. From the very first chords of this track, I can tell it's going to be eerie and morbid and it is. The lyrics are about two little boys who stray from their cabin home and die. It also has that bluegrass sound. Krauss leads off, her whispery, pristine vocals matched by Stuart Duncan's guitar and Barry Bales' acoustic bass. Sam Bush chimes in with his mandolin as Krauss continues to sing her eerie tale. This song is much more my speed, especially on the chorus when Alison's whispery vocals turn into a searing wail. Nobody captures pain quite like Alison Krauss does.

Away Down The River, also written by Julie Lee and also a new song, is next. This song's title and the album's title are from the Robert Louis Stevenson poem "Where Go The Boats?" The melody for this song is very soft and pretty and of course, Alison Krauss sounds like an angel, but by now I'm ready for something a little more upbeat. Taken by itself, I like this song, but grouped with the other new songs, I think it's kind of boring.

Sawing On The Strings offers a welcome break from the slow stuff. This song, which debuted on CMT's 2004 Flame Worthy Video Music Awards, is a foot stomper of a romp. Krauss sings and plays fiddle, joined by Stuart Duncan, also on fiddle, and all of the members of Union Station. Jerry Douglas plays an awesome dobro solo, followed by Tony Rice on guitar. This is the only really exciting track on this CD and that makes it almost a little out of place. Still, I'm glad it's on here, because it's a hell of a lot of fun to listen to.

Anybody who saw O Brother, Where Art Thou? will probably remember the traditional song Down To The River To Pray. Krauss sings this a capella, along with the First Baptist Church Choir of White House, Tennessee and a small choir of other singers. This track is just as spiritual and mesmerizing as it was on the original soundtrack. The harmonies are gorgeous.

Next is Alison Krauss's exquisite cover of Baby Mine. I never cared for this song until I heard Alison Krauss sing it. This version of "Baby Mine" was originally recorded for the 1996 album The Best of Country Sings The Best of Disney, a CD that's somewhat hard to find these days. Union Station provides most of the backup on this track, too. I love the bluegrass treatment Krauss gave this lullaby and her voice is absolutely perfect for it.

Molly Ban (Bawn) was recorded for The Chieftains' Down The Old Plank Road: The Nashville Sessions. I happen to have this CD, so I had already heard this song plenty of times before I picked up A Hundred Miles Or More. First, let me comment that Alison Krauss and The Chieftains are a fantastic team. Krauss's delicate soprano backed by The Chieftains' Irish flavored accompaniment is unbeatable. Second, let me comment that this traditional folk song is very moving. The first time I played it for my husband, Bill, he had tears in his eyes by the time the song was finished. It's a tragic story of a man who mistakes his wife for a swan and accidentally kills her. This is definitely a marvelous, haunting song.

Of course, I love the next track, How's The World Treating You, Alison Krauss's duet with James Taylor. This song originally appeared on Livin', Lovin', Losin': Songs Of The Louvin Brothers. Of course, I have that CD and in my mind, this song alone was well worth the price of the album. It's certainly in the right place on A Hundred Miles Or More, too. I never get tired of hearing two of my favorite singers let their gorgeous, heavenly voices mingle on this sweet, simple song.

The Scarlet Tide was originally recorded for the film Cold Mountain. Written by Elvis Costello and Henry Burnett, "The Scarlet Tide" has a timeless melody that sounds like it could have been written in the 18th century. Krauss is backed by a piano, a cello, and a harmony vocal by Cheryl White. It's not bluegrass, but it's a wonderful vehicle for Alison Krauss.

Country fans will probably recognize Whiskey Lullaby, Alison Krauss's duet with Brad Paisley which originally appeared on Paisley's 2003 album Mud On The Tires. I love this song, which is about a couple whose lives were shattered by love lost, too much alcohol, and suicide. Paisley and Krauss sound wonderful together, but this song's subject matter is very depressing. Jerry Douglas's somber dobro is just the right touch to give this song a bittersweet sadness that hearkens images of a small town romance gone horribly wrong. While "Molly Ban" makes my husband cry, "Whiskey Lullaby" is more likely to make me want to cry... or at least have a good stiff drink after I've hidden all the firearms.

You Will Be My Ain True Love, also from the Cold Mountain soundtrack, was written by Sting. Alison Krauss sings lead on this bleak, haunting, medieval sounding song while Sting harmonizes with her. Sting and Alison Krauss sound fine together, though they aren't as spellbinding as Krauss and James Taylor are as duet partners.

I Give You To His Heart is an extremely moving song written by Union Station's own Ron Block. This song originally appeared on The Prince of Egypt: Nashville Soundtrack, and Union Station provides most of the backing accompaniment. I especially enjoy the classical guitar played by Bill Piburn, which gives this song an elegant quality. The lyrics, which are written as Moses's mother is singing to her infant son before she casts him away forever, are so touching and beautiful. The melody is like a lullaby and really conveys the selflessness of a good mother's love for her child. I have a lump in my throat every time I hear this one.

Get Me Through December, which was originally recorded for Natalie MacMaster's 1999 release In My Hands is next. On this track, Alison Krauss is joined by her older brother Viktor Krauss, who plays bass. Krauss's sublime vocals are ushered in by a lilting piano introduction by Matt Rollins. Natalie MacMaster plays fidde. This song is one I'd never heard before, but I'm sure I'll be playing it a lot more often now. It's so peaceful, romantic, and lovely, almost jazzy and Celtic. I had not heard of Natalie MacMaster, but I think I'll check her out after hearing this pretty song.

I was never a big fan of the original incarnation of John Waite's 80s era pop song Missing You, but the remade duet version with Alison Krauss breathes new life into his old hit, which also appears on Waite's 2007 album Downtown... Journey of a Heart. I don't really think Waite and Krauss really changed the way this song sounds that much. They updated the arrangement a bit, given it a very slight bluegrass tone, and of course, Krauss sings. She sounds great on this... in fact, I like her vocals a lot better than Waite's, even though he's the rock singer.

Lay Down Beside Me is another John Waite duet, but this track is previously unreleased. This song was written by Don Williams and sounds like low tempo jazz, even with Waite's rock vocals. The melody is romantic; Jerry Douglas plays lap steel guitar, injecting a little bluegrass in the tune, while Jim Cox plays a Hammond B-3 organ, which injects a little soul. This is a pretty ballad. I think I like it a little better than "Missing You", though I do wonder how Alison Krauss and John Waite came to the decision to record together.

A Hundred Miles Or More: A Collection is nice to have if only because it includes some wonderful, and in some cases formerly rare, recordings of songs Alison Krauss has contributed to compilations over the years. I'm not overly impressed by all of the previously unreleased songs, but I like them enough to let them grow on me. This album is pleasant to listen to, of course, but it's heavy on slow songs. "Sawing On The Strings" is the only really uptempo song in the lot. If you aren't a big fan of Alison Krauss, all of those slow songs might be a little boring. I'm also not sure it will appeal to all of Alison Krauss's fans... especially the ones who are really into bluegrass. She really experiments more with a pop/adult contemporary sound on these songs. If you aren't prepared to hear Alison Krauss really cross over, you may not like her newest recordings... On the other hand, there's enough of her older stuff here to make this CD a very worthwhile purchase indeed.

Alison Krauss's official Web site: www.alisonkrauss.com