Carrie Rodriguez / Press

“Rodriguez has become equal parts contributor to and student of American songwriting traditions.”

“In addition to first-rate originals “Your Lonely Heart” and “Fire Alarm,” the duo put their stamp on songs by Townes Van Zandt (“If I Needed You”), Taylor (“Big Kiss”) and John Prine (“Unwed Fathers”). They bring things to a close with a lan- guidly paced cover of “Love Hurts,” which is on par with the famous renditions by the Everly Brothers and later Nazareth. Here’s hoping Rodriguez and Kyle work together again.”

Jeffrey Sisk - The Daily News

“Fiddler breaks strings, hearts.”

“Carrie Rodriguez with her two latest releases — last year’s “Love and Circumstance’’ and a new duets record with Ben Kyle, “We Still Love Our Country’’ — this singer-songwriter and fiddler revisited the artists who inspired her. Collectively, the albums include poignant interpretations of songs by Lucinda Williams, the Louvin Brothers, and Richard Thompson.”

“Carrie Rodriguez bends the boundaries between country, folk, and rock. She also performs songs so sexy that they're what Barry White would have done if he had worn a skirt and sung with a Texas twang.”

“Carrie Rodriguez and Ben Kyle’s “We Still Love Our Country” follows a very simple formula: Beautiful female vocals + easygoing male vocals + country standards + gentle acoustic-based accompaniment = an album of duets that’s an absolute gem, because they found an excellent plan and stuck with it for a wonderful half-hour. Fans of the acoustic guitar need this album. That’s all there is to it.”

“Two thoughts come quickly to mind on the second listen to WE STILL LOVE OUR COUNTRY by Carrie Rodriguez & Ben Kyle: 1)it's not a jingoistic nod to the red, white, and blue, but a tribute to traditional and new country music that sounds kinda traditonal, and 2)Rodriguez remains star material no matter who her duet partner may be and, for that matter, as a solo artist.”

Tom Geddie - Buddy Magazine

“We Still Love Our Country finds Carrie Rodriguez teaming up with Ben Kyle, the Belfast-born frontman of the Midwestern alt-country band Romantica, for an album of duets that hark back to the classic country pairings of Loretta and Conway and Dolly and Porter. Most of the tunes are covers, but they make them all their own. ...the Rodriguez/Kyle co-write, “Fire Alarm,” is a flirtatious duet with a playful lyric and, thanks to their vocals, plenty of sizzle.”

“Ben Kyle, on busman's holiday from the Celtic/Americana of Romantica, joins Rodriguez in this endearing nod to the exalted Gram Parson/Emmylou Harris partnership. Kyle's upbeat You're Lonely Heart sets the tempo: a spirited, dance-floor shuffle on which Kyle's crooning swoon takes lead while Rodriguez wraps her kittenish wiles around. Van Zandt's once-in-a-lifetime If I Needed You, is a dreamy, passionate plea. The catchy, co-written Fire Alarm, a humorous country swing about two oddballs in love, carries us into mentor Taylor's Big Kiss a doozy of a yearner that the two get to the very bruised heart of, a miraculous feat Parsons & Harris did with frightening regularity. John Prines' ever poignant Unwed Fathers gets the definitive cover version, soft acoustic picking and Carrie's weeping fiddle. Love Hurts will never have anyone forgetting the Gram & Emmylou iconic performance, but it does set the stage hopefully for another, longer running disc from this deeply simpatico duo.”

“Carrie Rodriguez didn't allow a cold to detract from a set long on tenacity in her Southern California return... (her) interpretive strengths allow her to put a face of determination rather than pity on a melancholy lyric, and the rough edges from her cold added to the effect. But Rodriguez comes armed with the added instrument of her fiddle, and on Sunday, that voice shone particularly bright, bringing "I Don't Want To Play House Anymore" and "Never Gonna Be Your Bride" into foot-stomping, testifyin' mode and providing some very tasty instrumental tension in the lead break of "Waterbound." A late highpoint in the set was Rodriguez' husky-voiced take on "La Puñalada Trapera," Rodriguez voice, now hoarse and cracking, laid in a smoky and steely character to the already dramatic tune, imbuing it with a cinematic quality that's discernible in most Rodriguez performances, but even more so with a touch of fight against the elements in the air. (Live Show Review)”

“Carrie Rodriguez doesn’t just cover the love songs in her fourth album, she inhabits them. Love and Circumstance, which has a big, polished sound rich in texture and instrumentation. Rodriguez’s voice is arresting whether she’s slowing down Lucinda Williams’s “Steal Your Love,” giving a fresh interpretation to Richard Thompson’s “Waltzing’s for Dreamers,” or belting it out on “Big Love” (Little Village). This is masterful musicianship, with primacy given to the guitars, which blend beautifully yet inhabit different spaces within the songs, so that the character of each—tremolo, acoustic, electric, tenor—shines. There are lovely touches on every cut, like the ecstatic single lines on “La Puñalda Trapera” that play up Rodriguez’s soulfulness or the way Frisell’s guitar dances jazzily around the single repeated notes chiming from Rodriguez’s mandolin on Hank Williams’s “I’m So Lonesome I Could Cry.” A stunner. (Ninth Street Opus)”

“Captivating Texas-born and -bred singer, fiddler and songwriter Carrie Rodriguez continues her ascent.”

“This Townes Van Zandt psalm/psong is timeless, and so dang good that it’s hard to imagine someone ruining it. I stumbled across this version when I found myself wandering around looking for whether Carrie Rodriguez had come out with anything new recently. Voila! She made an album of duets with some dude named Ben Kyle. I first listened to it while trudging across the tundra of the Public Garden and Boston Common. On several of the songs, I snuck a look around to see if anyone was near me, and seeing no one, I sang along loudly. I rarely give into that temptation, and I experience it a lot, but something about these songs was just irresistible. You try listening to the bouncy, swingy “Fire Alarm” without singing along. Or two-stepping. I dare you. But first listen to this lovely psalm/psong.”

“Together, the pair complement each other’s strengths and make each track worthy of belonging on a honky tonk jukebox. (from a review of WSLOC)”

“Attention to hayseed detail helped place this one-off in the Top 10 of the AMA charts, where Decembrists and Gregg Allman are also holding court at this writing. The EP’s title was an unfortunate choice, as some people might run screaming from anything threatening to be NASCAR-ified ‘Let the Eagle Soar’ chest-thumping celebrating our rapidly failing state; but I suppose people expect everything nowadays to be a Tin Pan Alley play on words and will correctly expect John Prine-style tearjerking and old school honky-tonk. Twenty-somethings still love them their hipsterisms, so the LP begins with ‘Your Lonely Heart’, written by (Romantica frontman) Kyle most likely while coming down from a Cowboy Junkies bender. From there, though, it’s throwback city – solemn renderings of ‘Love Hurts’, Luke McDaniel’s ‘You’re Still On My Mind’ and Prine’s ‘Unwed Fathers’ broken up at one point by the Dwight Yoakam-ish honky-tonk original ‘Fire Alarm'.”

“Rodriguez’s charming, low key vocals mesh perfectly with his (Ben Kyle's), making this a match made in contemporary folk/country heaven. The sparse production rightly focuses on the vocals with a backing band that’s in the pocket yet appropriately reserved... they should continue this sympathetic partnership and expand it to an album of originals. - from review of WSLOC”

“For the better part of the past decade, the term "angelic" has been oft-applied in discussing the multi-talented Carrie Rodriguez and her music. To be sure, the molasses-coated twang she imparts is very much the stuff of heavenly creatures. So are her skills with almost any instrument bearing strings, especially the fiddle. These days, though, Rodriguez's most angelic attribute is her sharing of the spotlight. Early this month, she and Romantica's Ben Kyle teamed up for the immaculate We Still Love Our Country, an album that is without a doubt stone-cold country, but sweet enough to lack any pretense. Yep, that halo sure fits nicely atop Rodriguez's curly locks.”

““[Love & Circumstance] brings the lifelong musician and longtime sidewoman front and center, at long last establishing Rodriguez as one of Americana's biggest up-and-comers.””

“We can all see ourselves in varying degrees in sad songs, particularly sad country songs. Personally, I love them, especially when they are done right. Doing it right is what goes on in the Carrie Rodriguez and Ben Kyle (of Romantica) duet release, ‘We Still Love Our Country’. Their voices match as much as the heart and soul they put into their version of six classic tracks and two originals. As the title tells you, country runs proud and free in these songs. The country sound honored can claim a few addresses. Some come in from east, country songs that made AM radio’s shine in the 50’s/60’s. Others have a feel of the time when country and rock started hanging together in the late 70’s L.A. Cosmic American Music days. Wherever the origins, the songs have found a home, with Carrie and Ben serving as proud parents.”

“Albums twice as long as this rarely get to as profound a place of loss and longing as what Rodriguez and Kyle discover in these eight songs, theirs included. Flat nail it, they did. (from review of We Still Love Our Country)”

“Kyle and Rodriguez blend beautifully together. Often their voices almost become one all-encompassing, graceful dual-tone (from review of We Still Love Our Country).”

“The Acoustic Café Tour is smartly arranged as a study in post-Lilith Fair, singer-songwriter contrasts. Veteran songwriter Mary Gauthier sings with a cutting drawl and writes brutal fables that merit comparisons to both Flannery O'Connor and Townes Van Zandt. Carrie Rodriguez also knows how to hold an audience with a sculpted lyric, but her method is a sweeter science, part fiddle brilliance, part Texas soul. The youngest of the three, Erin McKeown, brings some levity and pop impulses to the bill and should be a draw for fans of Ani DiFranco's satirical groove folk. If you're looking for a night of dainty songbirds in polished folkie cages, disappointment is certain — this trio has sharper, shrewder songs to share.”

“Rodri­guez hit the ground running with 2006's country-minded debut, Seven Angels on a Bicycle. Last year's album, Love and Circumstance, centers on singer-songwriter twang, particularly the cuts featuring Buddy Miller. Rodriguez's croon has a husky tinge like honey with a touch of spice, and she takes some clever lyrical turns: She compares someone with a "'50s French Movie" (When do I take my clothes off?) and confesses, I learned all the words of love in my dictionary. Expect more of the singer's sultry voice and subtle wit at her Acoustic Café Tour date at Knuckleheads.”

“The instrumentation is perfect, subtle, and played with ease as Rodriguez and Kyle’s voice melt together like butter onto a hot biscuit. It’s a winning combination that fuels this eight-song record with laid-back passion. ... Fire Alarm,” the other original, gets the toes tapping again with playful lyrics and warm accompaniment that make you long for more originals from the tandem. ... Carrie Rodriguez and Ben Kyle are the real deal and We Still Love Our Country is a great calling card.”

“Fiddling phenom Rodriguez and Romantica frontman Kyle harmonize on six classic country love songs and two originals. The latter, "Your Lonely Heart" and "Fire Alarm," have the album's sweetest taste of yearning honey and funniest honky-tonk kick, respectively. Teardrops will conceivably fall as you listen to their renditions of Townes Van Zandt's "If I Needed You" and Hazel Houser's "My Baby's Gone." ... Carrie and Ben sing pretty together...”

“I've become a pretty big fan of Rodriguez over the past two years. She just released an excellent new album with Ben Kyle titled 'We Still Love Our Country,' and I would imagine a few of those songs will be on display. Rodriguez's 'Love and Circumstance,' which came out last year, was also wonderful, so she's at the top of her game (and her last show at The Old Rock House was top notch). - from preview to "an Acoustic Cafe evening" show”

“Coming closely on the heels of last year's well received Love and Circumstance, Carrie Rodriguez takes an unexpected detour to connect with newcomer Ben Kyle for an EP largely consisting of covers. Having weaned herself away from her apprenticeship with Chip Taylor, it shows she's still quite comfortable as a collaborator. ...We Love Our Country measures up as a worthy addition to Rodriguez's growing catalog. The title refers to the duo's fondness for old timey Americana, a common thread that weaves its way through all eight of its offerings. ...the pair's original material parallels those prototypes. "Your Lonely Heart" and "Fire Alarm" maintain an easy ramble, Rodriguez's fiddle and the duo's lilting harmonies affirming their down home designs. It may seem a somewhat unassuming entry, but regardless, We Love Our Country creates a favorable first impression.”

“Austin, Texas-based Carrie Rodriguez hooks up comfortably here with indie kindred spirit Ben Kyle in a loose tribute to Gram Parsons and Emmylou Harris, the founders of what became Americana/alt-country—the rootsy, left-field sub-genre that honors country’s legacy and its notable songsmiths (traditional and otherwise). Reprising Parsons’ take on “You’re Still on My Mind” (from The Byrds’ landmark Sweetheart of the Rodeo album), the two pare the track down to its basics and find its emotional core, treating it simply as a song rather than saying, “Hey, check out this really hip old country song.” This blend of respect and unself-consciousness is the biggest contribution the duo makes to songs better known elsewhere in definitive versions. We Still Love Our Country effectively nods to the endurance of well-crafted songs and traces a rough historical arc for a younger generation.”

“Austin fiddler Carrie Rodriguez knows how to wrap her voice around a tune as well as let her instrument wail, weep, and laugh in accompaniment. And Romantica’s Ben Kyle understands the importance of keeping the music earnest, even deadpan, no matter how serious or silly the song. Together, the pair complement each other’s strengths and make each track worthy of belonging on a honky tonk jukebox. It’s no insult to say Rodriguez and Kyle do not surpass the past masters. The intent seems more to pay tribute to their forbears. The important thing is that the disc offers plenty of pleasure and enjoyment, and the pair sounds like it had a good time making it. No new ground may be broken here, but as Neil Young used to wryly sing, “In the field of opportunity, it’s plowing time again”. We Still Love Our Country offers the occasion to enjoy good country music, and that’s reason enough to reseed familiar ground.”

"You will miss sunrise, if you close your eyes, and that would break, my heart in two." Choosing to cover Townes Van Zandt is pretty popular these days. But when you do it beautifully, as Carrie Rodriguez and Ben Kyle do on their new album, We Still Love Our Country, it sounds as fresh as ever. To me, "If I Needed You" should be the gold standard for any songwriter trying to achieve honesty in his or her lyrics. Its simplicity has always spoken to me, no matter who is singing its words; it's undeniably timeless. Smartly, Rodriguez and Kyle don't try to invent the wheel here. Their version is gentle, and Rodriguez's harmonies are in that Emmylou Harris category -- you know, the kind that softly linger in the back of your mind for days. Frankly, Rodriguez is a star in my book, and she's only getting better. We Still Love Our Country is available now. I'd recommend giving it a shot.

“It's really an homage to our favorite duet singers and our favorite duets. We're both huge Gram Parsons and Emmylou Harris fans. It was just kind of a tribute to our heroes and the music that we love. In calling the album, "We Still Love Our Country," we wanted to make an album of good country songs. Country can get a bad rap, with all the new pop stuff, which is not really country music. They put a pedal steel guitar in there, but it's 90 percent pop. There is so much great history in the country genre, and we wanted to pay tribute to that. - Carrie Rodriguez (quoted)”

“Austin-based singer-songwriter Carrie Rodriguez teamed up with Minneapolis-based Irishman Ben Kyle, lead singer of the folk-pop band Romantica, for this eight-track collection celebrating their love of classic country and Americana. They mostly do right by their choice of material, giving heartfelt readings of Townes van Zandt’s “If I Needed You” and John Prine’s “Unwed Fathers” among others. Of the set’s two originals, the standout is “Fire Alarm,” a totally adorable opposites-attract love song that some smart guy-girl vocal duo (Lady Antebellum? Little Big Town?) will turn into a country radio hit.”

“...it should really be titled “we still love our country music”. After Rodriguez knocked a couple of classic country covers out of the park last year on Love and Circumstance, I suppose this is a natural progression. To start with the last song on the album, Love Hurts, she does it again in a duet with her partner on the album, Romantica front man Ben Kyle. I feel like the standard for duets was set by Gram and Emmylou with this song, but I have to say Carrie and Ben are in the same league. I loved Fire Alarm, an original that’s so John Prine it comes off like a tribute. And speaking of John Prine, they also cover his Unwed Fathers tune. It’s a reminder there are a lot of country gems written before country was cool. With an old soul take on several of them here, this album will push you to go back and listen to a few of those classics again.”

“Some singers are like good chocolate, they make just about everything they touch better. Carrie Rodriguez is well on her way to becoming chocolate. Her sublime duets with Chip Taylor are a must have for any fan of alternative country. Her solo albums are near Americana perfection. Now she is back with a new album of duets and a new singing partner. Ben Kyle is the lead singer of the Irish Folk/Rock band Romantica, who has also done some work with Ryan Adams. Rodriguez and Kyle have partnered together on We Still Love Our Country, a collection of deliberately country covers of classic country songs. ...this a remarkable and memorable album. The harmonies are a shimmering thing of beauty, which may well be a joy forever. This album is a deliberate and loving tribute to country music, back when it had real meaning and real twang. And, as such, this is an album fans who have been missing that sort of country will enjoy for years to come.”

“A good boy/girl country duet can cross many boundaries, and Carrie Rodriguez and Ben Kyle's breezy new collection, "We Still Love Our Country," does that in several ways. The album finds the Texas songstress and the Irish frontman of Minneapolis alt-twangers Romantica harmonizing sweetly through Alt-Country 101 staples from John Prine, Townes Van Zandt and the Gram Parsons songbook, plus two fun originals.”

“Carrie Rodriguez is the Texas-based singer/songwriter with numerous exceptional albums to her credit and Ben Kyle is the Irish-born singer/songwriter from the acclaimed Minneapolis band Romantica. Together, they deliver a sweet taste of Americana on this relatively brief (eight song) album, mixing a couple of originals with a series of classics and near-classics. In truth, one of the best and most playful songs on the set is “Fire Alarm,” a track they wrote and harmonize on about the lustful attraction between two near complete opposites. Elsewhere they turn in superb renditions of material penned by Townes Van Zandt, “If I Needed You;” John Prine and Robert Braddock’s masterpiece “Unwed Fathers;” and the timeless “Love Hurts,” which was written by Boudleaux Bryant and recorded by everyone from the Everly Brothers to Gram Parsons and Emmylou Harris. This one is classy and gently alluring recording from start to finish.”

“This eight-track EP pays homage to country singers and songwriters who thrived outside Nashville Inc. Six of the eight songs are covers, including Townes Van Zandt’s “If I Needed You,” which was famously covered by Emmylou Harris and Don Williams; Boudleaux Bryant’s classic “Love Hurts,” which Harris even more famously recorded with Gram Parsons; John Prine’s “Unwed Fathers”; and “You’re Still on My Mind,” a song Parsons and the Byrds recorded for “Sweetheart of the Rodeo.” At the website Direct Current Music, Kyle said of the cover of “Love Hurts”: “(It) seems a bit wildly ambitious in that Gram and Emmylou recorded a ‘duet for the ages,’ that I can’t imagine ever being surpassed in feeling and delivery, but Gram and Emmy were a deep inspiration for this project and so you could say we chose this song as an acknowledgment or a sort of homage to them.””

“Americana's odd couple return for a final spin, with an album that is mostly a "best of" from their decade performing together, but which also boasts four new numbers by the prolific Taylor. The veteran songwriter ("Wild Thing" and "Angel of the Morning" are his) and young fiddle player add up to more than their sum, whether on the easy-going "Let's Leave This Town" or lachrymose slowie "Play it Again Sam", with her pungent drawl playing foil to his seasoned growl. Along with tricky love affairs, Texas's open roads and genial music bars are always on hand, with Taylor's two 60s warhorses given a live run-out. - review of The New Bye & Bye, The Best of The Trainwreck Years (2002-2009)”

“Shot through with wistful melancholy and unflinching honesty, every song is a minor masterpiece, and Taylor and Rodriguez blend their voices together like coffee and cream, the results a rich blend that’s smooth yet endlessly intriguing. Highly recommended!”

“Sometimes it seems as though Willie Nelson invented the unlikely duet. Chip Taylor and Carrie Rodriguez may have perfected the concept. Sure, a former professional gambler from New York and author of Wild Thing paired with a Texas-born and Berklee-trained fiddler and vocalist 38 years his junior - who didn't know that would work? An audition of their five previous albums together is nothing so much as a debunking of demographics. The pairing does work, and its disparate virtues are all on display in this retrospective fortified with four new songs. Taylor's pungent, distinctive lyrics and melodies - check. Rodriguez's aching fiddle and equally expressive and wide-ranging voice - check. Humor and passion - check and check. The contributions of both partners are not only deeply complementary, but well balanced. One can certainly understand why this duo's parting kiss would be fraught with melancholy.”

“The New Bye & Bye really isn't an album you analyze but one you let wash over you. Taylor & Rodriguez don't so much tell stories as create moments for the listener to experience, the sort that usually might only be found on a back porch on a Texas summer night (with gracious nods to Appalachian folk). If your taste in music runs to the roots of country, rock and folk as played on back porches across post-frontier frontier then you need to be listening to Chip Taylor and Carrie Rodriguez. The New Bye & Bye is a great place to start, offering the best work of their years together and some nice new surprises. Taylor and Rodriguez are very capable of making magic on their own. Together they combine those collective talents with the sort of chemistry you can't buy or force. The New Bye & Bye is essential listening.”

“I liked the more upbeat songs "Sweet Tequila Blues" with its catchy line "take me back to Austin, damn I miss that town" and "All The Rain" with "I can't believe they didn't drown with all the rain in their heart". I really enjoy Carrie's twangy "I don't give a damn" attitude with the calm, collective melody from Chip. And speaking of accents, wow, you haven't heard "Wild Thing" until you hear their version. They ought to change to the title to "Wild Thang".”

“There’s cover versions and there’s cover versions... And then there’s those in which the singer pays respect to the material but imbues it with their own spirit so that, unless you knew otherwise, you’d believe they’d written it. Such is the case with Rodriguez’s third solo album (Love & Circumstance), a collection of love songs by artists she counts as inspiration and influences, produced by Lee Townsend, recorded with her regular band and featuring guest contributions by Bill Frisell, Buddy Miller, Greg Leisz, and Aoife O'Donovan. After two previous albums, it also underlines her increasing confidence and strength as a vocalist, finding both tenderness and muscle in equal measure. ...musically and thematically, it’s a labour of love.”

“With her drop-dead sultry beauty and equally stunning vocal and instrumental chops, it’s no surprise that many a songwriter would enjoy the opportunity to crawl under the covers with Austin-based musician Carrie Rodriguez — musical covers, that is. Rodriguez’s latest release, “Love and Circumstance,” is an all-cover record, and a choice one at that. ”

““Rodriguez has taken a handful of classic tracks from her genre and truly made them her own. ... what makes the album is her sweet yet powerful vocals."”

“a superior collection of Americana-flavored country-pop, delivered with exquisite taste, and proves a fine showcase for Rodriguez’ marvelous voice and interpretive skills. Recommended! Read more: http://blogcritics.org/music/article/music-review-carrie-rodriguez-love-and/#ixzz0sLUqxOY4”

““Taken as a whole, the album is a slow burn reminiscent of Emmylou Harris’ Wrecking Ball. ...the best showcase of Carrie Rodriguez’s talent to date.” ”

Juli Thanki - Music & Musicians

“...simply an understated triumph. Grade: A”

“Taken as a whole, the album is a slow burn reminiscent of Emmylou Harris’ Wrecking Ball. ...the best showcase of Carrie Rodriguez’s talent to date.”

Juli Thanki - Music & Musicians

“The music world is populated by performers who can do it all: sing, write songs and play several instruments and do it all with personality and panache. Some of them are well-known or famous; others aren't and deserve to be -- which is the category Carrie Rodriguez falls into. - from live review of Kansas City show May 16, 2010”

“Those who have been following Carrie Rodriguez throughout her career will find Love & Circumstance an exciting addition to her oeuvre, new fans will get a glimpse of the rising star’s influences; both will revel in the sterling musicianship and heartfelt interpretations of new and classic songs. “This is a really important record for me,’ says Rodriguez, ‘not just because it gave me the chance to go back to my roots, but also because it celebrates my family.””

““...her latest absolutely floored me. It’s a dozen covers so skillfully done that some of the original artists might be tempted to enter the witness protection program. If this isn’t her breakthrough album there’s no justice."”

“If you're not familiar with Rodriguez's work, Love & Circumstance, which was released on April 13th, is a wonderful place to start. It's warm and striking. And it's as real of a collection of tunes that you'll find. Please don't let this one slip past your ears.”

“...since we live in darker, more hostage mentality times, beautifully crystalline efforts like Love and Circumstance will undoubtedly, unjustly, and undeservedly go unheard and mostly unheralded.”

“t’s one thing to sing someone else’s song. It’s another to make it sound as if you wrote it yourself. On “Love and Circumstance,” Carrie Rodriguez pulls that feat off 12 times over. With unhurried phrasing, accented by hints of a Texas drawl, hushed whispers and resigned, wistful sighs of cynicism or regret, she convinces us every emotion she conveys is truly her own. Of course, she knew just which musical well to draw from: Family favorites, and Americana royalty like Little Village, Buddy and Julie Miller, Townes Van Zandt and Lucinda and Hank Williams. Her delivery of tunes such as Richard Thompson’s “Waltzing’s for Dreamers” and the David Rawlings/Gillian Welch composition, “I Made A Lover’s Prayer” is so intimate, so confessional, it’s almost as if she doesn’t know we’re listening. Finely detailed instrumentation adds nuanced elegance to her lovely alto.”

“Carrie Rodriguez proves herself an astute interpreter of other people's material via her latest - and best -album to date, the tellingly titled Love and Circumstance. The new album provides the perfect mesh of singer and song. Her take on Richard Thompson's starry-eyed "Waltzing's For Dreamers" retains the song's innate vulnerability but adds an extra measure of soothing contemplation at the same time. Likewise, she settles comfortably into the melancholy gaze of "I'm So Lonesome I Could Cry" and "I Started Loving You Again," and if she doesn't necessarily illuminate the sentiments any further, she certainly finds them a comfortable fit. John Hiatt's "Big Love" and Buddy and Julie Miller's "Wide River To Cross" are similarly compelling, restless narratives that meld comfortably with her tattered worldly view. Clearly she's convincing in these settings, and in today's world of artifice and skewered perspectives, authenticity offers its own rewards.”

“Carrie Rodriguez knows all about living in a man's world. The sultry singer-songwriter has been hanging with the opposite sex ever since she was discovered by Chip Taylor at Austin's South By Southwest in 2001. Being one of the boys doesn't seem to be a problem, though, for the constantly moving Rodriguez, who is back on the road this April promoting her third studio solo album. A calm but comforting collection of covers, Love and Circumstance was released April 13 by her new label. Just a little more than a month ago, the classically trained violinist turned fiery fiddler (who also plays electric mandolin and tenor guitar), served as a supporting sister figure on the Acoustic Brotherhood Tour. As the lone woman appearing on the same stage with a Tex-Mex mix of machismo that included Alejandro Escovedo and Los Lonely Boys, Rodriguez was well-received during a short but sweet warm-up set March 1 at the Boulder Theater in Colorado. More...”

“When a well-established songwriter makes a covers album, listeners often assume it's a chance for the songwriter to pay relaxed homage to his or her influences. (John Lennon was quite relaxed for at least part of 1975's "Rock 'n' Roll," which was begun in the midst of heavy drinking.) When a lesser-known songwriter such as Carrie Rodriguez makes a covers album (and only her third solo album overall), it's a more daring proposition. However, her experienced musical mind guides her song choices, and her lovely, lucid voice does the rest. Lee Townsend's production is at once lush and simple, allowing Rodriguez the space necessary to interpret not only standards (Hank Williams' "I'm So Lonesome I Could Cry") but also relatively obscure songs (Little Village's "Big Love," M. Ward's "Eyes on the Prize"). She serves the selections best by treating them as if they were her own: with delight and care.”

"Carrie Rodriguez brings brilliance to Van Dyck" - headline of show review

"Rodriguez is not only an agile instrumentalist, a talented songwriter and a sweet, sweet singer, but – as this album proves in spades – she’s also quite a masterful, poignant interpreter."

“...a case of the right album at the right time. ”

Village Records

“This is an album you do not want to miss. (And Carrie is on tour now, you don’t want to miss that either).”

“...Rodriguez is like an Emmylou Harris for the MTV generation: audititorally pleasing and visually appealing at the same time. ”

Simon Thalmann - Kalamazoo Gazette

“If there was such a genre called “post-Americana”, I think Carrie Rodriguez would be the poster child. In fact, she may have invented the genre without meaning to or knowing it. For those non-music geeks, the label “post” usually refers to indie rock that is darker, has crunchy guitar riffs and typically lots of angst. ”

Austin Vida

“...a masterpiece of erotic persuasion, a haunting meditation of rhythmic sounds. ...a work of voodoo. ”

Shelton Ivany - his review of Live in Louisville - National News Bureau

“Flirty, dirty and pretty, Live in Louisville is Rodriguez at her best. ”

Michael Swanger - from his review of Live in Louisville - Des Moines Cityview

“The cinematic scope of "Mask of Moses" and the overly sexual "50's French Movie" will have some listeners thinking Nickel Creek has melted into Sonic Youth. ”

Gene Armstrong - from his review of Live in Louisville - Tucson Weekly

“”Fiddle” and “deadly” don’t usually appear in the same sentence together – unless you’re talking about Carrie Rodriguez. Austin-born and bred and ready to take on the world. She closed out the night with some attitude on stage. ...she brought the crowd to their knees with her songs of love and regret, and a bit of vengeance.”

Jason Claypool - Denver Post

“Fiddler and singer/songwriter Carrie Rodriguez is a breath of fresh air in the too-often stale and stuffy cupboard of American acoustic music. Radio stamps like Americana, chick-rock, and new traditionalist don’t come close to all that she’s doing in that overlooked vacant lot between straight-up rock and instrumental virtuosity. Though she hangs with bona fides like Gary Louris and Lucinda Williams and Alejandro Escovedo, Rodriguez has the brains and balls to go after music as if she’s never heard anyone else make it before.”

Chris Barrett - Metropulse (Knoxville, TN)

“Carrie Rodriguez plays fiddle on only three songs for her second solo album, “She Ain’t Me” (Manhattan). Yet her fiddler’s vocabulary of old modal melodies centers her songs about faraway loves and spiritual prospects, bringing concision and gravity to every one of them. Ms. Rodriguez chose collaborators well: she wrote with Mary Gauthier, Gary Louris from the Jayhawks, Dan Wilson from Semisonic and the producer Malcolm Burn, who enfolds her Americana with resonant electric guitars and steadfast march beats. Behind the sorrows and longing is a determination that’s grounded, implicitly, in tradition.”

Jon Pareles, from his review to She Ain't Me - The New York Times

“…shifting between electro-mandolin-driven morality tales and hooky folk-rock, illuminating personal dramas with the skill of a young Lucinda Williams (who gets in some guest wailing on “Mask Of Moses”), and flirting with another Carrie’s (as in Underwood) bitch-on-twang-pop wheels. “Whoever Ms. Whoever is, she ain’t me,” she sings on the albums’s title track, calling out the competiton...and the threat drips sweetly from her lips.”ie the lyrics are given their due and each word—and each ache in her vocals—can be heard…Carrie Rodriguez takes a bold step on She Ain’t Me. She’s got nowhere to hide. Despite what the title says, it is all her. Rodriguez deserves applause for doing such a good job of presenting the many sides of herself.”

Steve Horowitz, from his review of She Ain't Me - Popmatters