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Reviews and Press


Southeast Performer Magazine:

October 2000
CD Review for "Lonesome and Low-Fi"
Writer: Jim Thomas

A handwritten note scrawled on the surface of Robert Kendrick's Lonesome and Low-Fi urges those who
stumble upon it to "Sell your T.V., buy a banjo." Not bad advice, if you can get these results.
Lonesome it is, and not so much low-fi as it is simple and unadorned. Kendrick's heart is breaking and
so will yours. Recorded by Dave Alewine at the Jam Room in only four hours (!), the disk features
Kendrick strumming his six-string and bearing his soul on eight original compositions. He also takes a
vocal-only stab at one traditional song. The structures are simple and straightforward, the emotions
raw and genuine. Whether he's pondering the unravelling of a romance ("Nothing I Want to End"),
or another lost barroom night ("Empty Bottle Crown"), Kendrick's plain and plaintive country stylings
(he calls it "garage folk") get the job done.

Columbia Free Times:

July 12, 2000
CD Review for "Lonesome and Low-Fi"
Writer: Kevin Oliver

'Garage Folk' - That's what Robert Kendrick calls his stripped-down, solo acoustic singer-songwriter
fare, and it is an apt description.
Recorded locally at the Jam Room in four hours, this quickie, one-take method does not detract from
the quality of either the recording or the performance. Kendrick is a distinctive singer cut from ragged
alt-country cloth, like Richard Buckner with a sizeable Woody Guthrie streak. His simple guitar
strumming and impassioned yet folksy vocals serve as willing tools for his songs, most of which deal
with the pain of the specific, day-to-day life of his characters.
High points of these narrative tales include the almost sing-alongs "Away From Here,'' "Second
Thoughts,'' and "Indiana,'' and the weary, hundred-year-old sound of "No Place to Stay.'' The opening
track "Nothing I want to End,'' is the most conventional song on the album, a resigned relationship tale
that wouldn't sound out of place on a John Gorka album. Be sure to hang around for the bonus track,
one of the a capella gospel numbers that Kendrick uses to close his live shows.

July 12, 2000
Live Show Review
Writer: Kevin Oliver

An English teacher with a background in punk rock, Kendrick's lean and literate folk has the edge of
the uncertain he attacks his songs with energetic fervor.


Athens Flagpole:

March 29, 2000
Interview
Writer: Matt Thompson

For someone who has been in the singer-songwriter game for less than two years, South Carolinian
Robert Kendrick, 33, shows remarkable maturity as a guitar-wielding raconteur of heartbreak and
day-to-day life. Much like fellow Piedmont songwriters Tommy Womack, Kenny Roby (of Six String
Drag) and Chip Robinson (of the Backsliders), Kendrick's tunes are of a narrative nature, simple but
incredibly effective vehicles for emotional expression. The Illinois native first got into music while
attending college at the University of Iowa, playing in a number of punk bands, and continuing to get
his Master's and Ph.D. in English, before the country bug bit him hard. Inspired by the legendary
Woody Guthrie, Lucinda Williams, and Whiskeytown frontman Ryan Adams, Kendrick broke out as a
solo artist in October 1998 and played for just about anyone who'd listen as well as playing gigs in his
current home of Columbia SC and elsewhere. Toying with the idea of making some sort of album,
Kendrick say's he's mostly interested in just touching as many people as he can with his songs for now.
Kendrick speaks:


Did your punk years have any direct influence on what you're doing now?
"It did completely. The first music that really grabbed me was stuff like the Carter Family, Woody
Guthrie and Robert Johnson. Bands like Husker Du and that SST stuff. That's folk music to me and I
could relate to it. Punk and folk music both deal with the visceral realities of day-to-day life."


What's your songwriting muse?
"I really couldn't write about the Midwest until I went to South Carolina, but its just where I always
come back to. Its just the stuff you hear and see everyday. When you sit down with people, what do
you talk about? You talk about relationships, work, money and just stuff going on in your life. That's
the stuff I wind up working into songs because that's about all I have to say."


Do you consider yourself in the whole alt-country/alt-folk crowd?
"Every time I try to send out a bio, I hate trying to deal with that whole classification thing. To me, it's
what country music's supposed to sound like."


Was it tough breaking out as a solo artist after so much time spent just as part of the band?
"Yeah, but I think it's helped. I'm naturally obnoxious and full of myself [laughs]. You can't be shy or
sheepish on-stage, and what was a character liability is now an advantage. I think performing is such a
fucked-up compulsion but I still want to do it all the time."


Okay, the big question: what's the best booze for performing?
"Oh, God, bourbon with lemon in it. Ice is a horrible, horrible thing to do to hard liquor."


January 26, 2000
Live Show Review
Writer: Ballard Lesserman

This Columbia SC singer-songwriter turned heads with an impressive set of solo material last month
when he opened for the Ex-Husbands.



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