Record Review – Playboy

Possessed of the best western Kentucky twang since bluegrass master Bill Monroe’s, Knight can break your heart with his singing.� But the songwriting here is even stronger.� On his third CD he tells stories of characters so down on their luck they’ll never get back to even.� At times more rock than country, Knight’s music sets a melancholy tone that perfectly matches the outlaw desperation of his songs.� Nashville needs more music like this.�

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Too Many Albums, Too Little, Etc. – Santa Monica Mirror

�� �� After Johnny Cash died, I parted the dozens of CDs beside my desk like The
Red Sea to find something appropriate to review next. I stopped at Haggard
Like Never Before, the latest release by Merle Haggard. Like a pair of country
music redwoods, The Okie From Muskogee duets with Willie Nelson on “Reno Blues
(Philadelphia Lawyer.)” This swell infidelity yarn is by another American tall
tree, Woody Guthrie. Haggard sticks it to this administration in “That’s The
News,” a gently sung, venomously written song about the White House

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Record Review – New York Daily News

His voice has the kind of husky edge that’s perfect for country rock. When Chris Knight sings of drinking, cheating and murder, it’s with the right tinge of threat. But his third and latest CD, “The Jealous Kind,” adds more wit and wisdom to the mix. In “Banging Away,” some knuckleheads bumble through life with wacky determination. In “Walking on the Border,” two people find love with each other despite a mountain of differences.

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10 Independent Albums Worth Checking Out –

Chris Knight
The Jealous Kind (Dualtone)
The ragged characters in Chris Knight’s songs know all about hard luck. Liquor store robberies, dashed dreams, murdered brother-in-laws — this definitely isn’t the feel-good hit of the year. But conflict is what creates a good story, and these stories are positively gripping. For those who flipped for Knight’s 1996 debut, pick this one up.
Listen to “The Jealous Kind.”

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Record Review – Dallas Observer

Chris Knight isn’t exactly the American noble savage, but like fellow Kentuckians such as photographer Shelby Lee Adams and author Chris Offut, he offers movingly detailed portraits of life as it’s really lived in Appalachia. His tiny, aptly named hometown of Slaughters (where Knight still lives, despite Nashville record and publishing deals) provides both cogent tales and a vivid context for his rugged story songs.

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Record Review – USA Today

Chris Knight, The Jealous Kind (* * *) The Jealous Kind is a roots-rock road
album with more than its share of curves. Knight’s characters all see a road
they think promises escape from their troubled, desperate lives. For the
farmer’s son in Me and This Road, it’s a never-ending ribbon of blacktop
that surely connects somewhere to the county road that stops just past his
house. For the family in the Grapes of Wrath-inspired Broken Plow, it’s the
one that connects Dust Bowl Oklahoma with fertile California. Knight lets a

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Coal Miner’s Brother – Houston Press

Chris Knight’s a regular guy. The people in his songs aren’t. �

Chris Knight extracts songs from the same ravaged west Kentucky earth he once rehabilitated

The tomatoes were good this year. They came up out of that fine Kentucky soil that blankets the coal mines and connects the hardscrabble towns, bringing Chris Knight back home to the rolling hills of his heart.

“It’s pretty good out here,” the singer-songwriter deadpans about his 40-acre spread down the road from Slaughters, where he grew up.

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Record Review – Wichita’s Alt Weekly

Chris Knight is not a bad singer-songwriter. In fact, The Jealous Kind will probably give him the boost he obviously deserves, landing him on the record shelves of those who love Steve Earle, Son Volt, Uncle Tupelo, Ryan Adams and other ne’er-do-well laconica. But he’s also a better songwriter than what the bulk of The Jealous Kind lets him be. His best work comes when he borrows not from the likes of the aforementioned pantheon of ne’er-do-well laconica but when he abandons the notion of song and instead lets a story flow through.

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A Pretty Good Guy

The hubbub greeting Chris Knight’s 1998 debut revolved around the album’s gritty, pulp-country point of view, a tone set by scenes rife with guns, tough luck and beat-up pickups- and by the weight of the world etched into Knight’s ash-can rasp.

The Kentucky native’s new album, the wryly titled A Pretty Good Guy, continues his penchant for dramatic, back-holler noir, once again filling an album with odes to empty bottles, broken drams and hungry hearts.

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