A brilliant album. I love Allison Moorer's music but (unless you are an Allison Moorer completist in which case nothing is going to stop you) don't pay the extra [money] for the one extra track on this import version. Bulley Jones is the only extra track, done "live-in-the-studio" at a guess and, though the lyrics are strong, nonetheless comes as a bit of an anticlimax after Dying Breed, one of the most compelling tracks on Miss Fortune and a very appropriate note to end on.

I bought the "extra tracks" version in the UK where it has been released as standard so didn't pay an arm and a leg for it but would advise any US fans who haven't got money to burn to avoid it and get the US version with which, if your tastes anything like mine, you will be well pleased.

Allison Moorer may have the most powerful, expressive voice in country music, and she has the song-writing talent to back it up. I gave her last album, "The Hardest Part" an ecstatic 5-star review, and would probably give her debut cut, "Alabama Song", 4.5 stars if the system allowed fractions.

Allison has now reached what has been the watershed for good or bad, the make-or-break point in so many recording careers, the famously "difficult" third album.

Make no mistake, it's a good album as every fan knew it would be - the lady's talent, discipline and professional commitment always ensured that would be the case. My only real regret is that (quite understandably in view of the critical timing in her career), Allison has played it a little safe this time. As editorial reviews say, it's closer to conventional Nashville, and I haven't yet found anything on here to compare with the desolate beauty of "A Soft Place To Fall" or the awesome spine-tingling intensity of "No Next Time" (my favourite tracks off the first two albums). Also I miss the traditional bluegrass inflections of her earlier work.

The good news is that there is not a duff track on the album. Allison's blistering voice is if anything on even better form than before, and the soulfulness that set her apart from the Nashville pack seems even further to the front. And the best news of all is that by broadening her appeal at this critical phase Allison has played a good hand for her long-term career. That promises more great work to come, and all the time in the world to pursue a more personal musical vision in the years ahead.

I didn't pay much attention when my daughter initially gave me Alison Moorer's "Miss Fortune" CD. When I first played it, it did not particularly grab me, but on replaying it recently I was struck by several terrific songs. There is such a touch of yearning in her voice as she seeks to "Steal the Sun," a ballad about a perfect night of love and desire that everyone has experienced at sometime in their lives and how she wants it to never end. This is a signature song and worth the price of the CD. Moorer's sense of lost love, another emotion than everyone can appreciate at some level, found in "Cold in California," "Can't Get There From Here," "No Place For A Heart," and "Mark My Word" evoke strong empathies. And her cautionary tale of substance abuse, "Dying Breed," recalls difficult situations I have experienced with friends. Perhaps I'm sentimental, but I'm not sure that's an altogether bad thing. It's far better than the alternative.

There are some of the songs that I didn't especially care for--"Ruby Jewel Was Here," and "Hey Jezebel" come to mind--since they reminded me of Saturday nights in Honky Tonks, but overall this is a very fine album that captures a soul.

As the Amazon review implies, Allison Moorer moves away from the traditional sounding country to more contemporary arrangements on her third album MISS FORTUNE, but gives it her own style and makes it her own and distinct. This is honestly one of the best albums to come out of Nashville this year. It encorporates country rock, gospel funk and torch songs in a sound that is hard to define and/or categorize. Still we have the poignant and sharp lyrics that fans have come to expect from Moorer. The opening "Tumbling Down" is brilliant, sad and direct. "Cold In California" asks the lover if they feel the chill from the ill fated relationship, after they've left. Allison to me is like a modern day Dusty Springfield, she has so much resonance and soul in her voice. The upbeat "Ruby Jewel Was Here" is a nice addition, as is the rocker "Hey Jezebel". "Let Go" is a nice mid tempo about not being able to let go, even though you want to. "Steal The Sun" is one of the best performances on the disc, definately a highlight. Other highlights include "Mark My Word", "Dying Breed" and "Yessirree". Check this album out, you won't be disapointed!

When I think of Allison Moorer, her work on this album is what I will always think of. Attracted by a label when we bought it that said, "Moorer's voice has not been altered in any way in the studio" or something to that effect, we thought it was worth a try. It's gusto stuff, and it put Britney Spears to shame years before they put themselves to shame.