There's no sophomore slump here for Julie Roberts, whose second release is, if anything, richer and more powerful than her well-received debut. Credit the uniformly strong material, with not a throwaway among the eleven tr... more »acks, and four of the songs cowritten by Roberts. There's not a happy song among them, either, except for the nostalgic "Too Damn Young," about when love was fresh in a teenage way that it will never be again on the rest of the older-and-wiser material. The opening "Paint and Pillows" tells of a wife wronged by a cheating husband, and a hurt that can't be masked by window dressing. "First to Never Know" and "Lonely Alone" find a woman on the run from a relationship gone cold, while "A Bridge That's Burning" sings of the refusal to become the other woman. Best of all is the title track, through which the bittersweet voice of experience warns that "men and mascara always run." Though Roberts has the glamour-girl look of a Faith Hill, the Southern bluesiness of her vocal phrasing is closer to Lucinda Williams, and the fiddle and steel guitar that dominate Byron Gallimore's production show country music making few concessions to pop. --Don McLeese« less
There's no sophomore slump here for Julie Roberts, whose second release is, if anything, richer and more powerful than her well-received debut. Credit the uniformly strong material, with not a throwaway among the eleven tracks, and four of the songs cowritten by Roberts. There's not a happy song among them, either, except for the nostalgic "Too Damn Young," about when love was fresh in a teenage way that it will never be again on the rest of the older-and-wiser material. The opening "Paint and Pillows" tells of a wife wronged by a cheating husband, and a hurt that can't be masked by window dressing. "First to Never Know" and "Lonely Alone" find a woman on the run from a relationship gone cold, while "A Bridge That's Burning" sings of the refusal to become the other woman. Best of all is the title track, through which the bittersweet voice of experience warns that "men and mascara always run." Though Roberts has the glamour-girl look of a Faith Hill, the Southern bluesiness of her vocal phrasing is closer to Lucinda Williams, and the fiddle and steel guitar that dominate Byron Gallimore's production show country music making few concessions to pop. --Don McLeese
"I liked Julie's debut album, but her new album is LEAPS & BOUNDS better. This album is amazing. Julie has matured as an artist and singer. She knows what works for her emotional alto voice and delivers these new songs with passion, strength, and sadness. Buy this album...you'll be glad you did."
Flawless
Tom | The Woodlands, Texas United States | 07/15/2006
(5 out of 5 stars)
"First of all, let my start by saying I am a huge Faith Hill fan. She is an astounding vocalist, energizing performer, and passionate musician. This business with her being "unable to pick good songs" and "connect with her music" is absolute baloney. Having seen her live multiple times, I can assure you that Hill performs with stellar vocals that soar to sky and a passion and conviction that are almost tangible, especially on GREAT songs like 'Cry' and 'Breathe'. Hill is a wonderful artist, and Julie Roberts should be greatly flattered by such comparisons.
And it seems that the comparisons are just. Julie returns with her sophomore effort with even greater material. Each song is oozing with emotion and Roberts delivers consistantly. As the reviewer says, there isn't a single skip-worthy track on the disc. Julie captures and enraptures the listener from the first track, the lively "I ain't gonna take it anymore" anthem 'Paint and Pillows' to the more somber and subdued finale 'All I Want is You'. In a sense, the album is a cathartic discovery of a woman's self in love and loss, and, as the reviewer also said, be prepared for some heavy, oft-times unhappy material. In fact, most of the songs included on the album are lacking in the happy ending department. But it works out so well, because Julie utilizes her admirable instrument of voice to tap into the feeling and mood of the lyrics she's singing and really connect with her audience. She does so triumphantly, and beneath the surface of sad songs there is a faint glimmer of hope, which Julie exposes with her sultry, gritty alto. As should also be noted, Roberts' vocals have, in fact, grown since her debut. She exercises a great dear more range, especially on songs like the title track, "That Ain't a Crime", and "Mama Don't Cry". She proves that, in addition to her commendable songwriting skills, Julie has an undeniable pair of pipes. This girl can blow.
Highly recommended!"
Men & Mascara is a sure bet for #1 in my book!
Jamie Jean | Detroit, MI | 06/27/2006
(5 out of 5 stars)
"I picked up Men & Mascara this morning and I am in love! What a great follow up to her first album which was also an amazing find. I have been following Julie ever since I heard her first single "Break Down Here" and I have been a fan ever since.
One of my favorite songs on the new album is "Too Damn Young". What a great song, I feel like I have lived that song!
I give this one way more than 5 stars! I give it 500 stars!"
Awesome Album - Awesome Singer
Jacque | 06/27/2006
(5 out of 5 stars)
"Julie Roberts is an amazing singer. This album really shows that too. I love the songs Too Damn Young, Men and Mascara, and Girl Next Door. I saw Julie in concert last month and she sang these songs and she did awesome. I can't wait to listen to this CD over and over again!!!"
Pure poetry
Charles C. DiVincenti Jr. | Louisiana | 09/30/2006
(5 out of 5 stars)
"Julie Roberts maintains to be one of the handful of country performers to remain true to the esssence of country music. Her voice is pure poetry! Julie offers none of the cross-over blandness of a Faith Hill, S. Twain or ex-flavor of the month G. Wilson. Patsy Cline must smile from heaven at the sound of her voice. Bless her heart, you're doing good, Ms. Roberts!"