Got No Bread, No Milk, No Money, But We Sure Got a Lot of Love | ||||
---|---|---|---|---|
Studio album by | ||||
Released | 1975 | |||
Recorded | 1973 | |||
Genre | Western swing | |||
Length | 32:44 | |||
Label | Capitol | |||
James Talley chronology | ||||
|
Review scores | |
---|---|
Source | Rating |
AllMusic | [1] |
Christgau's Record Guide | A [2] |
Got No Bread, No Milk, No Money, But We Sure Got a Lot of Love is the debut album by the country singer-songwriter James Talley. It was recorded in 1973 at Hound's Ear Studios in Nashville, Tennessee.
Reviewing in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau wrote: "The most attractive thing about this homespun Western-swing masterpiece—infusing both its sure, unassuming intelligence and its plain and lovely songs—is a mildness reminiscent of the first recorded string bands. Talley's careful conception and production both work to revive a playing-pretty-for-our-friends feel that most folkies would give up their rent-controlled apartments for. Despite its intense rootedness, it's neither defensive nor preachy—just lays down a way of life for all to hear." [2]
Got No Bread, No Milk, No Money, But We Sure Got a Lot of Love | ||||
---|---|---|---|---|
Studio album by | ||||
Released | 1975 | |||
Recorded | 1973 | |||
Genre | Western swing | |||
Length | 32:44 | |||
Label | Capitol | |||
James Talley chronology | ||||
|
Review scores | |
---|---|
Source | Rating |
AllMusic | [1] |
Christgau's Record Guide | A [2] |
Got No Bread, No Milk, No Money, But We Sure Got a Lot of Love is the debut album by the country singer-songwriter James Talley. It was recorded in 1973 at Hound's Ear Studios in Nashville, Tennessee.
Reviewing in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau wrote: "The most attractive thing about this homespun Western-swing masterpiece—infusing both its sure, unassuming intelligence and its plain and lovely songs—is a mildness reminiscent of the first recorded string bands. Talley's careful conception and production both work to revive a playing-pretty-for-our-friends feel that most folkies would give up their rent-controlled apartments for. Despite its intense rootedness, it's neither defensive nor preachy—just lays down a way of life for all to hear." [2]