Entertainment Weekly - 10/18/02, pp.110-11
"...Hill's ability to nail a decent song...feels like an old-fashioned godsend..." - Rating:B
Personnel includes: Faith Hill (vocals); Damon Johnson (acoustic, electric & slide guitars); Marti Frederiksen (acoustic & electric guitars,
percussion, background vocals); Tim Pierce (acoustic & electric guitars); Dean Parks (acoustic guitar); Michael Landau, Bryan Gallimore (electric guitar, background vocals); Suzie Katayama (violin); Jim Cox (piano, Hammond B-3 organ); Jamie Muhoberac (keyboards); Paul Bushnell. Leland Sklar (bass); Vinnie Colaiuta (drums); Bekka Bramlet (tambourine, background vocals); Eric Carter, Frank Macek (programming); Erik Lutkins (loops); Doug Moffet, Lisa Gregg, Lisa Cochran, Crystal Taliefero, Chris Rodriguez (background vocals).
Producers: Byron Gallimore, Dann Huff, Marti Frederiksen.
CRY was nominated for the 2004 Grammy Award for Best Country Album. "Cry" won the 2003 Grammy Award for Best Female Country Vocal Performance.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel: Edmund Stein (vocals); Dann Huff (guitar, programming); Michael Hart Thompson , Jerry McPherson (guitar); Damon Johnson (acoustic guitar, electric guitar, slide guitar); Marti Frederiksen (acoustic guitar, electric guitar, percussion, background vocals); Michael Landau, Tim Pierce (acoustic guitar, electric guitar); Dean Parks (acoustic guitar, gut-string guitar); Byron Gallimore (electric guitar, slide guitar, Clavinet, sampler); Cynthia Wyatt (harp); Jim Hoke (autoharp); Jonathan Yudkin (mandolin, cello); John Wittenberg, Robert Matsuda, Michele Richards, Mari Tsumura, Mario de Le¢n, Sara Parkins, Bob Peterson, Eve Butler, Mark Robertson , Joel Derouin, Sid Page, Bruce Dukov, Peter Kent, Maria Newman, David Stenske, Margaret Wooten, Armen Garabedian, Darius Campo, Michael Markman, Josefina Vergara, Susan Chatman, Berj Garabedian, Charlie Bisharat, Endre Granat, Haim Shtrum (violin); Carole Mukogawa, Kazi Pitelka, Lynn Grants, Matthew Funes , Karie Prescott, John Hayhurst, Evan Wilson, Bob Becker , Denyse Buffum (viola); Maurice Grants, Rudy Stein, Erika Duke, Diane Little, Miguel Martinez, Suzie Katayama, Larry Corbett, Stephen Erdody , Dane Little, Dan Smith, Steve Richards , Stefanie Fife (cello); Earl Dumler (oboe); Dan Higgins , Jim Horn, Sam Levine (tenor saxophone); Doug Moffett, Joel Peskin (baritone saxophone); Rick Baptist, John Fumo (trumpet); William Frank "Bill" Reichenbach Jr. (trombone); Jim Cox, Matt Rollings (piano); Jamie Muhoberac (organ, Wurlitzer organ, keyboards); Tim Akers, Steve Nathan (keyboards); Vinnie Colaiuta (drums, tambourine, drum programming); Chris McHugh (drums, programming); Toss Panos, Matt Chamberlain (drums); Bekka Bramlett (tambourine, background vocals); Eric Darken (percussion); David Lyndon Huff, Ted Tjornhom (programming); Eric Carter (keyboard programming); Frank Macek (drum programming); Chris Rodriguez, Crystal Taliefero, Greg Barnhill, Lisa Gregg, Lisa Cochran (background vocals).
Audio Mixers: Mark O'Donoughue; Mick Guzauski; Andy Wallace; Serban Ghenea; Tim Palmer; Tom Lord-Alge.
Audio Remixer: Elliot Scheiner.
Recording information: Emerald ENtertainment, Nashville, TN; Essential Sound; Henson Recording Studios, Hollywood, CA; OceanWay, Nashville, TN; Profound Sound; Rumbo Recorders, Canoga Park, CA; Skywalker Sound, Nicasio, CA; The Attic, Monrovia, CA; The Hit Factory, New York, NY.
Listening to the opening track "Free" on Faith Hill's CRY, one might be momentarily thrown; is this the Nashville country-pop siren we've come to know, or has the new Christina Aguilera album been mistakenly packaged in this jewel case? Come to think of it, the album cover might prompt the same question. While the electronic, pumping dance-pop rhythms of "Free" are far from what we think of as the Nashville sound, even in the 21st century, expectations are put back on track with the next track. The title song is closer to the Garth Brooks-meets-Pat Benatar power ballad sound commonly associated with Hill. The rest of the album walks a tightrope between the two styles, darting back and forth on either side. While the likes of "Stronger" and "You're Still Here" are ballads close to Hill's country-pop beginnings, many other tracks here utilize ultra-contemporary dance-pop production techniques in a seeming attempt to push Hill to maturing Britney-lovers. Since Hill has never exactly been what anyone would call "rootsy," this shift in stylistic emphasis is not too tumultuous, and is unlikely to disturb her (huge) hardcore fanbase.