10 Songs, 35 Minutes

EDITORS’ NOTES

Tom Rush has always had the voice to convey great, deep sentiment. He has not always had the songs or the arrangements. While 1968’s The Circle Game upgraded his profile from Cambridge folkie to modern folksinger and is generally acknowledged as his finest hour, Ladies Love Outlaws from 1974 comes a close second. Like The Circle Game, it centers around other people’s songs and Rush’s impeccable interpretive gifts. Both feature Rush’s finest original, “No Regrets,” which appears here like most of the songs in a countrified context. Guy Clark’s “Desperados Waiting for the Train,” Bruce Cockburn’s “One Day I Walk” and Michael Smith’s “Hobo’s Mandolin” (which could easily be mistaken for a Townes Van Zandt tune) are warm, sensitive covers that never fall victim to glossy arrangements or cheap, overblown sentiment. Rush is a master of control and his refined delivery and calm demeanor gives these tunes a reassuring vibe that makes you wish he’d spent more of his career searching the catalog of modern songwriters in need of his sturdy guiding hand.

EDITORS’ NOTES

Tom Rush has always had the voice to convey great, deep sentiment. He has not always had the songs or the arrangements. While 1968’s The Circle Game upgraded his profile from Cambridge folkie to modern folksinger and is generally acknowledged as his finest hour, Ladies Love Outlaws from 1974 comes a close second. Like The Circle Game, it centers around other people’s songs and Rush’s impeccable interpretive gifts. Both feature Rush’s finest original, “No Regrets,” which appears here like most of the songs in a countrified context. Guy Clark’s “Desperados Waiting for the Train,” Bruce Cockburn’s “One Day I Walk” and Michael Smith’s “Hobo’s Mandolin” (which could easily be mistaken for a Townes Van Zandt tune) are warm, sensitive covers that never fall victim to glossy arrangements or cheap, overblown sentiment. Rush is a master of control and his refined delivery and calm demeanor gives these tunes a reassuring vibe that makes you wish he’d spent more of his career searching the catalog of modern songwriters in need of his sturdy guiding hand.

TITLE TIME
2:30
3:11
4:19
3:32
3:29
4:08
2:59
3:26
5:39
2:15

About Tom Rush

With his warm and slightly world-weary baritone voice, solid acoustic guitar playing, and gifted if hardly prolific songwriting skills, Tom Rush was one of the finest and most unsung performers to come out of the '60s urban folk revival.

Born February 8, 1941 in Portsmouth, New Hampshire, Rush began his performing career in 1961 while attending Harvard University (where he majored in English literature), and he soon became a regular on the east coast folk circuit. A careful, unhurried songwriter, he was also a fine song interpreter, and had a knack for finding just the right song from new songwriters, being the first to introduce work from then-new songwriters like Joni Mitchell, James Taylor, Jackson Browne, Murray McLauchlan, William Hawkins, and David Wiffen, among others, and found ways to breathe new life into any number of traditional folk, country, and blues numbers, as well. In a five-decade career that has been steady and consistent but hardly lived out in the public spotlight, Rush has recorded a little less than 20 albums, several of them live sets -- a spare output given the length of his recording career, but it is a sturdy legacy by anyone's measure, with at least one of his compositions, the resigned and bittersweet "No Regrets" from 1968, standing as an acknowledged classic in the folk field. To highlight a half century as a performing artist, Rush released Celebrates 50 Years of Music, a live CD and DVD set drawn from a show held at Boston Symphony Hall in December 2012. ~ Steve Leggett

Songs

Albums

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