No Stranger to Shame
| Uncle Kracker
No Stranger to Shame
No Stranger to Shame is the second studio album by Uncle Kracker. It is the follow-up album to his double-platinum debut Double Wide. It is currently Uncle Kracker's only album to have two charting singles on the Billboard Hot 100 ("In a Little While" and "Drift Away"). It is his last album to receive a parental advisory label and his last to feature rapping, on the songs "Keep It Comin'" and "No Stranger to Shame".-Wikipedia
Critic Reviews
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Exclaim!
January 1, 2006. No Stranger to Shame doesn't have the stamina to last 50 minutes, and that is a shame.
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AllMusic
The album No Stranger to Shame is a collection of willowy jangle rock with Motown and rap influences thrown in.
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PopMatters
January 21, 2003. The Uncle's new album, No Stranger to Shame, continues this genre shifting and could easily get away with placement on record shelves under blues, rock, country, bluegrass, soul or pop. Wherever you stick it, though, there's no denying Stranger is one inventive, electrifying piece of work.
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Entertainmlent
September 27, 2002. On the whole, though, there’s no shame in Kracker’s game. He serves up a potent strain of soulful Southern rock, tosses in rap tracks to spice things up, and even duets with Dobie Gray on the latter’s ”Drift Away.”
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AVRev.com
September 24, 2002. Like Kid Rock, Uncle Kracker is a difficult case to categorize; he’s about as tough to cage as it would be to capture the alligator pictured on his new disc. . . . He just likes to make music that feels good, and No Stranger To Shame is about as feel-good as it gets.
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Music Stack
The New Country feel to "In A Little While" makes Uncle Kracker's second album an intriguing entry in the rap-rock genre.
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Anne Carlini - Exclusive Magazine
On the sophomore follow-up, ’No Stranger To Shame’ Uncle Kracker - the laid back Yin to Kid’s thunderous metal Yang - once again serves up a tasty helping of funky Detroit rock ‘n roll stew; blended with Motown, country, southern rock, hip-hop, and topped off with the DJ/MC’s own flowing, loose-limbed, story-telling raps.
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INK 19
October 28, 2002. The success of the songs all rest on the hummabilty of the chorus, and generally speaking, they just don’t hold up. It’s too mellow and modest to be seen as plain silly and irresponsibly dumb rock, and it’s too bland and polished to ever matter on any remotely personal level. An album for those who don’t think music’s too hot in the first place. Avoid.
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