Laurie Jones | After the Crash

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United States - Maine

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Rock: Folk Rock Rock: Modern Rock Moods: Solo Female Artist
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After the Crash

by Laurie Jones

Confessional folk rock
Genre: Rock: Folk Rock
Release Date: 

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  Song Share Time Download
1. Cat Song
3:49 $0.99
2. Wide Awake
3:37 $0.99
3. Hey Now
3:16 $0.99
4. No Friend of Mine
3:17 $0.99
5. Take Another Look
3:11 $0.99
6. Lubonics
4:01 $0.99
7. Road Trip
3:15 $0.99
8. Dragonfly
2:58 $0.99
9. Dance on the Water
3:12 $0.99
10. Maybe We Could
2:57 $0.99
11. Don't Look UP
3:43 $0.99
12. Joan of Arc
2:10 $0.99
13. Nashville
3:38 $0.99
Downloads are available as MP3-320 files.


Album Notes
Laurie Jones


Meet Laurie Jones, the "chick rocker," the "modern mix of melody and electric riffs," the woman who "sings with power, personality, versatility and passion." That's how the press describes Jones and her music.

Since the release of "After The Crash," Jones has kept her band smart touring in the Northeast, Maritime Canada and the UK...created an active and ever-changing website...sold several thousand CD's...recorded the soon-to-be-released followup,"Better Days"...and won herself a devoted fan base and an impressive collection of enthusiastic reviews.

As one of the most intrepid women in modern pop music, Jones can successfully unleash her full-tilt electric band in a room full of intoxicated skeptics, or convert the same room to a house of worship with a solo acoustic set.

Jones credits her musical curiosity and lack of creative inhibition to Alice Cooper, Sonny and Cher re-runs and certain symptoms of attention deficit disorder.

"I actually should thank The Beatles, Stones and a variety of 'young dudes' for teaching me the value of writing the 3 or 4 minute hit song, " she says. All of this has combined to make Jones a prolific and pithy songwriter.

As a member of the "Gals With Guitars" club, Jones has been ardently compared with veteran rocker Chrissie Hynde and occasionally confused with newcomer Avril Lavigne, when all she really wants to be is Suzanne Vega's roadie.

Laurie Jones writes catchy songs, honors the traditions of folk music, leads a power-pop band and is a vivid and vibrant performer.

Visit Laurie and the band, and read more than you need to know, at



to write a review

Goldmine Magazine

Jones has the makings of a major star.
Goldmine Magazine - CD review - February 2001

by Lee Zimmerman

First impresssions can be deceiving. Cat Song the agitated, aggressive rocker that jump-starts After the Crash finds singer/songwriter Laurie Jones in Chrissie Hynde mode - full of cock-sure confidence and edgy anxiety. So it's going to be another one of those - a seething diatribe by a bitter, disenfranchised woman determined to lash out at every guy who ever did her wrong. (Alanis Morissette, are you listening?)

Fortunately though, that's not the case here. Jones is confident, but her confessional style provides depth and diversity. Most other songs - Take Another Look, Dragonfly, and Don't Look Up, chief among them - come across as melodic mid-tempo attempts at conveying heartfelt emotion in a manner that's affirmative yet accessible. Jones' path to discovery unlocks many emotions, but hers is a less turbulent trek; on these songs, Jones offers empathy instead of anger, solace over cynicism, contemplation rather than contempt.

Her worldly view is closer in style and substance to, say Bonnie Raitt rather than Morissette or Fiona Apple, for example a song such as Maybe We Could shows she can be resolute without resorting to venomous diatribes. Wide Awake is sensual and seductive, but in a way that's both enticing and intriguing. Road Trip parlays a playful approach reminiscent of the B-52s. Nashville finds her in acoustic mode, offering up the kind of world-weary ballad that's most often associated with a more seasoned singer. A hidden bonus track, a contemplative unadorned take on Smells Like Teen Spirit effectively melds her soulful sensibility to a modern angst anthem.

Jones' arrangements, which incorporate a tasteful use of violin, cello, brass even bagpipes in spare but effective touches, also betray the mark of an accomplished artist. Given some well-deserved exposure,

The Lubec Light

The musicianship is subperb on After the Crash, complementing Laurie's strong vo
The Lubec Light - John's CD Review - October 2000

After the Crash is " Completely Different" and Completely Enjoyable- by John MacCarthy

" Now for something completely different" - the Monty Python line reference is the first thing we hear on After the Crash, the recently released CD by Lubec's Laurie Jones. And it is completely different from Laurie's first CD (Healing Place) which she has described as " slick, sweet and safe."

After the Crash, which is none of the above, combines Jones' considerable vocal talent with her equally impressive ability as a songwriter.

The musicianship is subperb on After the Crash, complementing Laurie's strong vocals on her own finely crafted compositions. There really isn't a weak track on the CD.

Portland Pheonix

adventurous, edgier, and in all, more artistically compelling side.
Hailing from far-flung Lubec, Maine, singer/songwriter Laurie Jones has overcome relative geographic isolation and a dismal CD debut (1996’s Healing Place) to nonetheless establish herself as a name to listen for in New England’s folk-rock circles. With her aptly titled sophomore effort, After the Crash, Jones — with chops, nerve, and humor intact — leaves behind the safety and gloss that marred Healing Place to showcase her more adventurous, edgier, and in all, more artistically compelling side.

Picked up by several regional radio stations, including such venerable folk outlets as WERU in Blue Hill and Maine Public Radio, After the Crash offers plenty of catchy, mid-tempo melodies and even a couple low-burn rockers. Lyrically consistent and emotional without stooping to histrionics, Jones’s vocals have drawn press comparisons to Bonnie Raitt and Chrissie Hynde, but I hear more realistic parallel with less iconic, but certainly accomplished regional artists like Deb Pasternak, Jules Verdone, and perhaps even the solo work of Indigo Girl Amy Ray. Stand-out cuts like the quiet, reflective “Hey Now,” the power-pop affected “Dance on the Water,” and the autobiographic and subtly anthemic “Nashville” illustrate Jones’s range. The CD’s finest track, a slow building, country-folk blessing titled “Wide Awake” pulls together all of these influences nicely.

Face Magazine

what it means to be human
face magazine- by sarah heifetz (cover Story)

"with the recent release of her second album, after the crash, laurie jones has proven herself as a song-writer, a musician, and a vocalist. not only does the album capture the power and personality of jones, but also some essence of what it means to be human."