1 Motherlode
2 Angel Inside
3 My Only One
4 More Than This
5 Arcane
6 Love We Made (Live at The Backroom)
7 Desert in the Rain
8 Laughing
9 These Things
10 Riding Away
11 Always
12 Walking Devotion
13 Waiting for the Sun

With a lovely voice, Anne McCue fills Amazing Ordinary Things with some of both -- some amazing, some ordinary -- ultimately falling somewhere in the middle of the road, though not for lack of trying. The opening track "Motherlode" is an instantly lovable ode pulsing with bright acoustic guitars and delicate rhythms, with melancholic violin lines and soft harmonies lending a touch of yearning to round out the moody textures. Given the chance, it would surely sit well alongside songs by Mae Moore, Mary Black, and Heidi Berry. A number of the other tunes aren't quite so straightforward and accessible, unfortunately leaning them toward the more ordinary side of the fence. Nevertheless, the effort and courage certainly shows as McCue tries on different styles to see what fits best, tossing in some light jazz, rock, and Latin flourishes here and there. Alas, it's on the simple pieces where she hits the amazing mark. Like "Motherlode," "More Than This" and "Walking Devotion" are gorgeously tender patchworks of melody and emotion. And "Riding Away" nicely fills the role of mid-tempo, radio-ready track. Overall, McCue offers up enough good stuff to make Amazing Ordinary Things a pleasant listen. ~ Kelly McCartney

Anne says:"I started recording the album on a shoestring budget in Melbourne. Tim Finn (Crowded House, Split Enz) had a studio in his house and we went in there and started recording. We recorded the cello in the living room. If you listen very closely you can hear the trams passing in the street. It was a great atmosphere there. Then I went to Vietnam for almost a year and when I returned I began the long process of completing the album. I ended up in Los Angeles where the final touches were done. I had a very clear idea about how all the songs should sound except 'Angel Inside' and that's where Larry Klein (Joni Mitchell) became involved. All in all, a wonderful experience."

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01 Driving Down Alvarado (4:50)
02 From Bakersfield To Saigon (4:06)
03 Bright Light Of Day (3:37)
04 Hellfire Raiser (6:46)
05 Sweet Burden Of Youth (5:49)
06 Coming To You (3:54)
07 Any Minute Now (4:45)
08 Jesus' Blood (3:11)
09 Shivers (6:58)
10 As The Crow Flies (6:22)
11 Lay Me Down (4:04)
12 Koala Motel (4:18)

If you’re of a certain age and inclination, you’ll welcome Anne McCue’s Koala Motel as kin to Pretenders II, Shoot Out the Lights and Rumours. But while some artists boast their influences like a window display at a trendy vintage store, counting the gems on on the Australian singer/songwriter’s second disc is like walking through an art gallery, with something to delight and intrigue at every turn. There’s the fuzzed-up scrim of her blues guitar on “As The Crow Flies”; the harmonies (with John Doe), reminiscent of Richard and Linda Thompson, in “Driving Down Alvarado”; the plaintive country edge of “Shivers.” On this last track... McCue sounds like her alto came out of God’s workshop. She’s confident, polished, smart, and Koala Motel is wholly original — and indelible. - Pamela Murray Winters, Harp Magazine

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01. I Want You Back 04:29
02. Nobody's Sleeping 04:41
03. Stupid 04:36
04. Crazy Beautiful Child 03:48
05. Hangman 06:17
06. 50 Dollar Whore 02:54
07. Tiny Little Song 04:31
08. Milkman's Daughter 05:19
09. Roll 05:55
10. Gandhi 03:05
11. Where The Darkness Grows 06:35
12. Ballad Of An Outlaw Woman 06:24
13. Machine Gun 09:21

Personnel:
Anne McCue - Banjo, Composer, Guitar (Acoustic), Guitar (Electric), Lap Steel Guitar,
 Organ (Hammond), Primary Artist, Producer, Vocals
Carl Byron - Accordion, Organ (Hammond), Wurlitzer
Dusty Wakeman - Bass, Mixing, Organ (Hammond), Producer, Vocals (Background)
Eric Gardner – Drums
David Raven - Drums, Loops, Percussion
Mike Stinson - Drums

For her American debut, Australian singer/songwriter Anne McCue delivers a diverse and long disc. Enthusiastically supported by Lucinda Williams, McCue generally justifies the ringing endorsement from the No Depression standard bearer. Roll is a rootsy, introspective, and thought-provoking singer/songwriter effort that isn't as essential as Ms. Williams' backing would imply, but is certainly impressive. Kick-started by three of its best songs, "I Want You Back," "Nobody's Sleeping," and "Stupid" are all engaging mid-tempo, swampy Americana rockers with ringing, somewhat Byrds-like guitars and singalong choruses that immediately lodge in the listener's brain. While the remainder of the album is no embarrassment, it's inconsistent. Like Sheryl Crow, McCue's voice can be gutsy, sensitive, or seductive, and although her songs are undeniably well constructed, some are hampered by lyrics that are either obvious or seem forced. She commendably breaks out of the strummy mode on "Mr. Hangman," a stripped-down, ghostly rocker with a sizzling electric slide guitar solo (played by McCue) right out of the Robbie Krieger/Doors style book. The title track chugs along on an insistent Stonesy rocking beat, with McCue's distorted guitar adding grit. A closing version of Hendrix's "Machine Gun" also showcases her tough six-string attack, but the powerful, overdriven tune doesn't fit with the rest of this less aggressive and bluesy album. The lovely "When the Darkness Grows" -- where McCue's voice sounds remarkably like Indigo Girl Emily Saliers' -- is arguably the disc's most sensitive track but, at over six minutes, could use some pruning. If the album were trimmed of its excess and edited to about 40 minutes, it would make for a magnificent listen. McCue is a talented singer/songwriter whose best songs show she's capable of eventually breaking out of the crowded Americana pack. Roll won't accomplish that, but it's a stirring, dignified, and confident work by a promising, up-and-coming talent. --- Hal Horowitz, Rovi

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