Spin (2/00, p.108) - 8 out of 10 - "...America's most unjustly unsung singer/songwriter....In the best country tradition, his songs use simple language to tell complex stories, but Fulks can't resist freaking the form..."Magnet (4-5/00, p.75) - "...The next chapter in [his] love/hate relationship with American music, genre exercises ranging from bluegrass and girl pop to indie rock and swing....Some so straight-faced they can almost pass for serious..."CMJ (2/00, p.59) - "...Fulks is back to his old irreverant tricks...returning to the hokey jokey tone of his first 2 raucous Bloodshot discs...finding him bringing his wicked wit to bear on the twisted'n'twangy country love song: 'Sleepin On The Job Of Love,' 'Parallel Bars' and 'Love Ain't Nothin'..."Dirty Linen (4-5/00, pp.64-5) - "...The disc offers ample evidence of Fulks' mastery of the 50s-60s style country play-on-words song....This wide-ranging collection is an apt introduction to the weird, wonderful country world of Robbie Fulks..."
Entertainment Weekly (p.84) - "[H]is originals are funny and sincere -- like 'I Like Being Left Alone,' a poignantly wry statement of middle-aged purpose." -- Grade: A-Uncut (p.102) - 4 stars out of 5 -- "A judicious selection of favourites...are infused with bristling energy, and there's a generous helping of fine new songs."No Depression (p.82) - "[T]he delirious interplay of 'Cigarette State' shows the unhinged quality that makes Fulks' live shows such a mercurial delight."
Entertainment Weekly (11/6/98, p.88) - "...it's startling to hear Fulks representing like an alt-country John Mellencamp. but he does it well, and commercial radio would doubtless be a better place for him. Sometimes the packaging feels canned, but a lacerating guitar, smart poetry, and a pas de deux with Lucinda Williams maintain the upstart vibe." - Rating: B+
Rolling Stone (p.78) - 3 stars out of 5 - "[The album] deftly bridges the two eras."Uncut (p.116) - 4 stars out of 5 - "[T]his Robbie Fulks-produced salute expertly summons Paycheck's soulful heartache."
Uncut (5/04, p.100) - 5 stars out of 5 - "The collaborations are curiously evocative....Brilliant."
Spin (12/99, p.232) - 7 out of 10 - "...The songs are campy-loose, and the performances sufficiently spirited, most notably 99 Tales' 'Baby Out of Jail'....It's one big 3.2 beer hootenanny...a squinting, post-punk Sunday-morning hangover that lingers - in this case, for 15 years."s
Option (11-12/94, p.116) - "...Compilation of Chicago neo-country recordings from new bands who like old stuff as it's trickled down through Slim Whitman and Boxcar Willie....Some of these kids...manage to integrate the country and bluegrass stuff they profess to with contemporary rock aesthetics..."
Option (7-8/97, p.130) - "...the songs range from honestly faithful...to updates...to pure rock'n'roll....Even if you have doubts about the heavily hyped insurgent/alternative country scene, this compilation will make you rethink them."
Entertainment Weekly (9/27/02, p.86) - "...Chugs along on Cash's signature chika-boom groove....A spiritied heartfelt bow to an American giant..." - Rating: B+
Rolling Stone (p.177) - 3 stars out of 5 - "[T]he pioneering Jackson combined Patsy Cline and Elvis Presley into one rebellious rockabilly fireball."Uncut (p.126) - 3 stars out of 5 - "This long-overdue tribute tempers the visceral heat of rockabilly's first rebel queen with a softer side that intuitively grasped the heartache of honky tonk, gospel, and country."