Marti Brom - Heartache numbers
Marti Brom with wonderful 'retro-country'.
Temporarily out of stock
1.One way ticket to the blues 2.Alone at a table for two 3.Three hearts later 4.Four walls 5.Five fingers to spare, 6.Whiskey six years old 7.Seven lonely days, 8.Eight weeks in a barroom 9.Apartment #9 10.Ten minutes till heartaches, 11.A-11 12.The twelfth of never 13.Thirteen steps away.Marti Brom - Heartache numbers
"Vocally, this record is flawless. It is, in my opinion, Marti Brom's best vocal performance on a recording - and all of her recordings are superb. And, as always, she has selected the best backing musicians for the genre. (Bobby Flores - fiddle, Justin Trevino and Kevin Smith - bass, Debra Hurd- piano, Levi Mullen- guitar, Dickie Overby- steel, Buck Johnson and Lisa Pankratz - drums) If you like 60's country, it doesn't get any better than this! When I am drinking alone, I am going directly to this CD for company.
To top it off, the 'Maven of Style' models a 'Cari Lee' original creation on the cover - a saloon-girl style satin/fringe dress! (I thought Cari Lee was a singer- how did she have time to become a kick-ass seamstress as well? I want my own 'Cari Lee' dress!). Plus, the liner notes are by the one and only Wanda Jackson! You know it must be good if the 'legends' are raving about it." Little Rachel
"Marti Brom, the best unknown country singer in America, has fashioned a remarkably satisfying honky-tonk theme album. Produced by Justin Trevino, the thirteen-song set (plus one truly fine ghost track) is drenched with brilliantly executed fiddle and pedal steel, reminiscent of Ray Price's early era.
Basically an album of covers, each selection features a number in the title that corresponds with its track designation and each captures the cathartic country poetry that often emerges from a broken heart. Drinking songs get their due with such chestnuts as 'Eight weeks in a barroom', 'Alone at a table for two', and the Bakersfield-era classic 'A-11'. Divorce and loneliness à la 'Ten minutes until heartaches' and 'Seven lonely days' conjure images of a torch-singer minutes away from a tearful meltdown.
Brom's ability to employ Patsy Cline's vibrato ('The twelfth of never') and Tammy Wynette's finger-wagging sass ('Whiskey six years old') and catch-note despair ('Apartment #9'), provides emotional touchstones rare in today's music. Moreover, the singer's sensual-to-the-bone approach allows her to perform both rockabilly ('Three hearts later') and a classic execution song ('Thirteen steps away') as if they were heart-stopping romantic recollections. Independent label country doesn't get much better than this." Ken Burke