Oysterband

It's a simple truism of rock & roll that, as bands get older, they tend to insist more on competent production. Sometimes this works in their favor, and sometimes it doesn't. In general, it's worked well for Oysterband, whose feverish fusion of English traditional song, ceilidh-ready instrumentals, and old-time rock & roll sounded great when they were young and relatively sloppy and still sounds great now that they're greying and tight. And some of their best moments on tape have been the most lushly produced ones. Here I Stand finds them taking unabashed advantage of the opportunities afforded them by a modern studio, where artful multitracking can make it sound as if John Jones has a good voice (and make no mistake: he doesn't, though he's a fine singer) and where the careful manipulation of gain levels can allow the cello to cut through a mix that includes accordion, trumpet, guitars, bass, and drums. Some listeners might hear the band relaxing a bit on this album, but it might be more accurate to say that they're more confident now -- willing to let their songs of romantic despair, political exhortation, and brotherly encouragement speak for themselves. And they do. "On the Edge" invokes the spectre of global capital and recalls the befuddlement of Britain's defeated Redcoats in a single well-tuned couplet; "After Rain" and "This Town" both explore the familiar male confusion over women who enter your life for no apparent reason other than to make it seem empty when they leave; "A Last Glass" is an instrumental ode to closing time. This might not be the best introduction to the band, but if you've heard and loved the earlier material you'll find lots to enjoy here as well. ~ Rick Anderson, All Music Guide