- 01. I Always Cry at Weddings
- 02. I'll Never Sleep it Off
- 03. I Walked in While He Was Changing Your Mind
- 04. Point of No Return
- 05. Happy Birthday Broken Heart
- 06. Between a Rock and a Heartache
- 07. Mother of a Member of the Band
- 08. Nothin' but Nothin'
- 09. If You Had Just Believed In Me
- 10. Wait Outside (While I Change)
- 11. Make Me Hate You Before You Go
- 12. Cupid's Little Arrow
- 13. Feeling Sorry for Myself
- 14. Losing Combination
Forever Always Ends
As a powerful antidote, we’d like to present you with Rex Hobart & the Misery Boys. Hailing from the Missouri side of Kansas City, Rex and the boys will remind one and all that true grit honky tonk is alive and well. Forever Always Ends, which was produced by Lou Whitney (Robbie Fulks, Skeletons, Syd Straw), magnificently conjures up the serious hoodoo that folks like Johnny Paycheck, George Jones, and Buck Owens were throwing down in their primes (you know, the mid-60’s). Rex and the Boys rely on a lot of the same weapons; bare bones, unadorned musical attack (wicked pedal steel, tasty electric guitar runs), and a lyrical sense that will reveal what true imposters all them current, Eagle-minded schmoes really are.
They are the kind of lyrics that’ll help you smile as your heart’s being pulled from your chest. They are the kind of story songs that’ll have that guy at the end of bar smiling wistfully to himself saying \"fuggin’ A, man, fuggin’ A.\" Oh yeah, if they need to, the Misery Boys can get the dance floor smokin’, too.
\"This is not a record for sunny days and newlyweds. Nope, this one you play alone in the apartment, surrounded by the cardboard boxes you left your house of love with. Perfect music for imperfect times.\" James Mann, Ink 19
\"The most straight-forward slab of honky-tonk Bloodshot Records has served up yet: the only thing insurgent about it is its refusal to acknowledge anything Nashville\'s produced in the last four decades.\" Peter Margasak, Chicago Reader
\"[Rex Hobart] is completely comfortable with writing and arranging his amazingly direct material as though a hellhound (or Johnny Paycheck) was on his dime.\" AudioCafe