Ani DiFranco - Out of Range Reviews
Ani DiFranco, "Out of Range," Righteous Babe Records
The Hard Report
May 27, 1994
This is Triple A with an attitude, and DiFranco's emotional lyrics and
passionate delivery make that an attitude with a capital "A."
Mikel Ellcessor, WYEP: "Ani DiFranco has The been a staple for
more than two years... She is an artist that isn't going to be mistaken
for somebody else. We don't want to sound like everyone else, and Ani
DiFninco helps us define ourselves as a radio station."
Jon Peterson,
WCBE: "Ani DiFranco's earlier work, though way cool, was perhaps too
personal and indulgent for Triple A. With her new album she comes into
the fold musically without sacrificing her insights and passion."
Dan
Reed, WNKU: "I think it is often overlooked that she is a great
guitar player. She is very talented and her songs have got a hook and
contain great little stories. We've played her past work and she is
getting better and better with every new album. All of the songs are
great, but the title track stands out." Jim Olsen, WRSI: "Edgey,
lyric-based folk rock in the Billy Bragg vein. Ani has a large grass
roots following."
Bob Terrill, KGSU: "I really like this album,
it's better than her last. Ani has a quirky original singing style that
works well for us. The acoustic guitar leans to the alternative side,
but the record will work well for all stations."
CMJ New Music Report
May 30, 1994
Ani DiFranco Out of Range (Righteous Babe Records) -- The artistic
growth of Ani (Ah-nee) DiFranco continues at an astonishing pace with
the release of Out Of Range. This is her sixth
self-produced/self-released project and, without a doubt, her most
accomplished. For the most part, DiFranco's music is closest to folk,
yet her intensely independent stance, unique guitar style and pointed
lyrics help to distance her from more familiar folk artists. Her songs
are passionate rants about sexual politics and emotional issues, and
though she uses some words some may find objectionable, others will be
grateful that she puts into words things they could never say
themselves, as on "Letter To A John" and "The Diner." DiFranco expands
her musical vocabulary with the horns on "How Have You Been," while the
bits of accordion and piano on tracks like "Face Up and Sing" and "Hell
Yeah" add some spice to her already hardy brew.
- Jim Caligiuri
City Newspaper
Rochester, New York
June 2, 1994
Up through the cracks in Buffalo's pavement: halfway to the sun; wide,
wide awake and amazing. On this record, her age, wisdom, and skill have
nearly caught up with her unbending ambition and will. Who gave this
kid permission? What's she making here? Call her a folk rocker if you
have to. Make sure you put the accent on "rocker" and just keep saying
it over and over until it doesn't mean anything anymore. That's where
Ani DiFranco songs come from - the self-determined jumpoff point between
pop access and such personal art. DiFranco would have invented folk
rock if she'd had to. Not one song drifts by without commenting on
something close to you. All of DiFranco's politics are personal. And if
you're not buried in the lyric sheet, memorizing, you're dancing down
the street in a walkman, swirling in understanding, pride, and funky,
rocking rhyme and roll.
- H.B. Ward