Archive for July 2001

Venus review

A review by Dina Hornreich that appeared in the August 2001 issue of Venus (Chicago, IL)…

It is easy to like Edith Frost.  She designed her own web site (  She was signed to her record label, Drag City, after writing them a fan letter about Will Oldham.  She runs a mailing list just for her jokes (not the annoying chain letter kind, either).  Her lyrics are sincere and the music is simply amazing.  As my Jewish grandmother would say, "Vuts nawt to like?"

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Lumpen review

A review by Cowboy Joe Collier that appeared in the Summer 2001 issue of Lumpen. I don’t know the exact date the issue came out.

Moving onto another outstanding Drag City offering, let’s hear it for Edith Frost!  Wonder Wonder is her third LP, and maybe her best.  This CD blows the doors off, a neat trick for such a meticulously crafted, delicate and beautiful piece of work — can’t even feel the blow.

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Best… review… ever!!

A review by Waymon Timbsdayle (?!) of my album Wonder Wonder that appeared in the Summer/Fall 2001 (#31) issue of Roctober. I don’t know the exact date the issue came out.

Drowsy… yet WOW-sy!

Citysearch review

A review by John Dugan that appeared on Citysearch Chicago at some point in July…

The Skinny:  Drag City may have some nearly despondent songwriters on its rosters, but boy, do they write some pretty songs.  Singer-songwriter Edith Frost has made three brilliant albums for DC: 1997’s "Calling Over Time," 1998’s "Telescopic" and 2001’s "Wonder Wonder."  There’s no getting around it–Frost’s songs are genuinely laced with sadness, even open bitterness.  But her idiosyncratic voice carries her well-chosen words well, if not eerily.  Frost (originally from Texas) has soaked up all kinds of flavors into her songwriting and production: A Chicago version of country twang surfaced on her acoustically rooted debut, and 1998’s "Telescopic" was a stylized revisiting of psychedelia.  While she’s collaborated with local hip producers and musicians (Jim O’Rourke, Archer Prewitt, Steve Albini), she hasn’t allowed anyone else to take over her show.  Though it’s said that Frost would rather let loose and play rockabilly, in the meantime her lonesome sound makes for riveting listening.

The Crowd:  Those hip to Drag City artists such as Smog, others who dig Frost from a roots angle.

NPR All Things Considered

Wonder Wonder was reviewed today by Colin Berry on National Public Radio’s All Things ConsideredAudio available!

WNUR (Evanston, IL)

Radio show on WNUR (Northwestern University), hosted by my producer D.J. Rockin’ Rian Murphy

My band: Ryan Hembrey (electric bass, backing vocals), Adam Vida (drums, guitar, backing vocals)

Playing guitar on a swing?

photo by Robert WarnerPhoto by Robert Warner for the October 2001 issue of CS Magazine (formerly Chicago Social)

Other Music review

A lovely review by "TH" that appeared in the Other Music mailing list and website. Can’t remember the exact date but it was right around the time Wonder Wonder was released.

It is with great anticipation that one looks forward to a new Edith Frost record.  Like Barbara Manning, Frost hardly releases a record every other month, and thus her albums have a careful, thoughtful quality about them.  When Drag City released her aching, desolate Telescopic, its production values attracted an entirely new group of fans, those who were already listening to Bill Callahan (Smog) and Cat Power.  But her new record stands alone, separating her once again from her ostensible peers (has she _any_ at this point?).

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Wonder Wonder

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front cover
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back cover
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cd inner sleeve

©2001 Drag City #DC209 (CD and LP)
Purchase the CD or LP at Drag City, or get the CD on Amazon
MP3s are available from iTunes and Amazon

My third album, also released in Japan on P-Vine.

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Lyrics to the songs on my third album Wonder Wonder

All songs written, copyrighted and published by Edith Frost / Marfa Music (BMI)

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Chicago Sun-Times interview

An interview by Mary Houlihan that appeared in the Chicago Sun-Times on July 15, 2001…

Fast and efficient.  Those are the words singer-songwriter Edith Frost uses to describe her latest studio experience.  Sitting in her dust-covered apartment, she’s hoping the workers tearing out the walls and installing new air ducts think the same way.

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Mike’s review on Amazon

A review by Mike Appelstein of my album Wonder Wonder that appeared on Amazon

A gifted songwriter with a knack for sad, ethereal country songs, Edith Frost stands apart from the No Depression pack with her willingness to experiment.  Her first album, Calling Over Time, suspended her tender melodies and drawling vocals in an oddly detached celestial haze; 1998’s Telescopic replaced the haze with a thick layer of electric fuzz.  On Wonder Wonder, the fog lifts, and what emerges is Frost’s most straightforward and focused album to date.  It’s tempting to call this a return to basics, but that’s not entirely accurate; indeed, with more than a dozen supporting players, it’s certainly her most ambitious production (thanks to Rian Murphy).  Frost’s songwriting is as reliably strong as ever, with a noticeably lighter touch to even the most melancholy songs.  The title track has a nicely jaunty feel (complete with a clarinet break), and the upbeat, ornate "Cars and Parties" sounds like a hit single for a better world.  Edith Frost has long occupied her own unique space somewhere between the country and indie-rock worlds, and Wonder Wonder is another worthwhile addition to her impressive catalog.