If you've never heard or seen The Everybodyfields, you will be in for a treat if you purchase this record. They are two young (late 20's) singer/songwriters (Jill Andrews and Sam Quinn) from Tennessee. They have beautiful harmonies and exquisite instrumentation, all of which go to creating a treat for your senses.

They have 2 previous records, but this one tells a story, it's the story of two people who loved, hated, and somehow came to a junction where they can be friends again, and it's a true story because it's their story, each artist writing their take on the relationship. It's really like an opera unfolding before your ears.

The songs "Wasted Time" and "Everything is Okay" blend seamlessly into one, it is really a remarkable record, my favorite of last year. I hear they are working on a new record and I can't wait!

I fell in love with this album after the first three notes. Not every listner will be this impressed by a small town band from East Tennessee, but everybody who thinks himself a learned music listener an ear test drive.
The first track may be the saddest song about gambling and the last the saddest about prohibition Tennessee boot leggers. However, there is a rainbow in the middle. Just when you thing things couldnt get worse; you have no money, no lover, everyone forgot your birthday; Jill Andrews busts out with a happy number making light of a small bird as the sound of chirping birds leak out of your average speakers.
Sam Quinn is exceptional too, while no always in tune with his partner, he is a haunting voice with much more to say than a song can tell. Thw two make their third disc their best and their most heart broken. No more songs about the TVA and what was. Now, its life in the shadow of loss and the lack of friendship. Its all sad but it all works out in the end-per the hidden track.
This disc is an essential to any music lovers collection and to any wishlist of a bluegrass fan.

I've never heard a warm-up band I liked, until The Everybodyfields at The High Noon Saloon in Madison, WI last night (April 5, 2008). They opened for Tift Merritt and they won the audience from their first notes. Jill Andrews and Sam Quinn are that rare duo whose voices are perfect foils for each other. As they swapped bass and acoustic guitar along with lead singing duties, they wove a sound that captured our imaginations. The rest of the band is very fine, though a different line-up appears on this disc. This is a natural act; music that doesn't need description. Someone compared them to the Avett Bros -- and it's an apt reference. If you like one, you'll like the other. I love their voices; the songs are perfect little touches of life; and the music they write is almost ethereal when it's not bopping away... Like I said, I've never heard an opening act I've liked, until now, and their newest disc (Nothing Is Okay) is as good as the live set they did in Madison last night. My hat is off to them. They'll be doing lots of duty on my player, and I hope to see them again soon.

Imagine if you will a vocal sound which combines the finest attributes of classic Merle Haggard and the more recent Beth Orton. The result might seem to be the sweetest sound imaginable, and, it just so happens, might also sound a lot like Sam Quinn's contributions to Nothing is Okay. Quinn's haunting, yet twangy, sound is complimented on this album by rich instrumentals and, what appear to be, thoroughly contemplated stories conveyed through captivating lyrics. Quinn, however, is not the only vocal star on this album. In fact, it might be the pure, smooth sound produced by the vocal chords of Jill Andrews, in addition to Quinn's unorthodox style, which gives the album, in its entirety, such tremendous depth. That is, unlike the work created by the plethora of singer/songwriters today, this album can be enjoyed time and again and feel just as genuine, diverse, and compelling as the first time that it was heard.

Many are frustrated by the seemingly perpetual need to place music within clearly delineated genres. The all too frequent result has been haphazardly placing the word alternative in front of a traditional genre's title (Alt-folk, Alt-country, Alt-blues, Alt-jazz...). What is so unfortunate about this is that, in an attempt to classify music, any effort to explain the sound is often avoided and artists that sound nothing alike are lumped into a one size fits all "Alt" box. Yes, the everybodyfields maintain a sound that is hard to describe and it is like describing a "new" color to someone who has never seen it. New sounds in music, similar to a new crayon color, are just combinations of that which already exists utilized in a new manner to create something different, if not better, than the culmination of its disassembled influences. As such, the sound of the everybodyfields might very well be described as being influenced by bluegrass, folk, and country but, in reality, it is so much more. This album is most certainly a great purchase.

I haven't gotten a chance to hear the new album yet, but I love their previous two albums, and enjoy catching them live when I get the chance. As a local of Johnson City, the Everybodyfields fall into the "friend of a friend" category in several directions, and so I'm especially proud to read that a group's album from our relatively small town made the top 50 albums of 2007 list in the December issue of Paste magazine! Congrats, guys! If you enjoy a bluegrassish indie feel (I hate to label them strictly alt-country, since I'm not usually a fan of the genre much), the Everybodyfields will rock your socks off... Or harmonize your socks off?