“Not For Nothing” is not only the return of Marti Brom but it’s also the return to life of a legendary label: Ripsaw. For this album the rockin’ brunette has gathered a cast of musicians of the Washington DC scene. The opening track – Finders keepers - is a cover of Wynona Carr on which she’s appropriately backed Del Pushert (who toured with Elvis) on sax. The singer does a great job and it’s good to hear her on uncovered ground like this. Get A Little Goner, the following number finds her in well known territories with a twangy honky tonk number featuring Bill Kirchen, by far the best track of the album with Arty Hill’s Mascara Tears a straight honky tonk on which her Patsy Clyne’s voice makes wonders. In the same vein you’ll find Something Blue from the pen of Teri Joyce. The Austin songwriter has written some of the best songs ever sang by Brom and this song makes no exception: another Honky Tonk tailor made for her. The title track, a Sean Mencher number, could be good but is totally wasted by the distorted guitar solo (Mencher would have done a better job no doubt about that) and too much echo on the voice. Pat Brown’s Forbidden Fruit is hardly better. Bobby Sharp’s Sweet Baby Of Mine could have been very good. It’s a groovy number in a similar vein than Hit the Road Jack with saxes but once again the guitar is played with bad taste and totally ruins it. Globally, one can say that the very weak point of this album lays in the rockin’ numbers on which the guitarist can’t help but over playing, and to make things worse, with a bad sound. Strangely, for a singer that delivered some very good rockabilly numbers (remember Lassoed Live) this album works chiefly when she sings country or blues inspired numbers. But as they say every rule has its exception and “I Get the Blues When It Rains” is the perfect demonstration of that. They try to give it a western swing touch but end sounding more than Asleep At The Wheel rather than Milton Brown (in other words they don’t swing to save their lives). In the end “Not For Nothin’” is only half convincing, but I wouldn’t say that Brom is to blame but the problem comes from the band. You can only regret her previous albums on which she was backed by members of High Noon or the excellent Barnshakers.

Fred "Virgil" Turgis

I heard about this "Heartache Numbers" project a couple of years ago, and was very interested in the concept. Each track is a song containing the number of it’s track listing on the CD. (for example: Track #7- «7 Lonely Days», Track #9- «Apartment #9», etc.) HOW CLEVER!!! And it ends with the unlisted track- «Heartache By the Numbers». Okay- so Marti’ gets kudos for the concept of the record alone. Even though I usually have gripes with records that are all covers, this is an exception because of the clever concept and the fact that it is Marti’ Brom and she can pull it off. I was thrilled to find it was no longer just a «concept», and that the recordings were finally finished and released in time for the Oneida 50’s Fest. I had to get a copy. I have always been a Marti’ Brom fan, no matter what she does. Every record is different for her, but she has such an impressive range, she can master a multitude of musical styles. Still my favorite Marti’ recordings are her country ballads. Imagine- a whole record of country ballads by Marti’! The emotion of these songs perfectly showcases her ability as a singer. I don’t know much about 60’s Country, but I was turned on to the genre when I lived in Austin, TX, where it is a staple. I miss the honky-tonks where I could have a tear in my beer, but this CD brings it all back to me. My only warning to listeners is that, if you are drinking while you are playing the CD, you will probably be crying by the end. Remember that the title is «Heartache Numbers».There is only one Patsy Cline cover on the record, but the obvious comparison to her vocal stylings is still evident. Like Patsy, Marti can yank at those heartstrings with her dynamic range and emotional vocal manipulation. (Marti- don’t get offended about another Patsy comparison. It is definitely a compliment from me.) Vocally, this record is flawless. It is, in my opinion, Marti’s best vocal performance on a recording-and all of her recordings are superb. And, as always, she has selected the best backing musicians for the genre. (Bobby Flores- fiddle, Justin Trevino and Kevin Smith- bass, Debra Hurd- piano, Levi Mullen- guitar, Dickie Overby- steel, Buck Johnson and Lisa Pankratz- drums) If you like 60’s country, it doesn’t get any better than this! When I am drinking alone, I am going directly to this CD for company.To top it off, the «Maven of Style» models a «Cari Lee» original creation on the cover- a saloon-girl style satin/fringe dress! (I thought Cari Lee was a singer- how did she have time to become a kick-ass seamstress as well? I want my own «Cari Lee» dress!). Plus, the liner notes are by the one and only Wanda Jackson! You know it must be good if the «legends» are raving about it.

In conclusion, Marti’ is still my idol. Buy all of her records!

Little Rachel