When {^I've Got That Old Feeling} garnered {$Alison Krauss} 1990's Best {\Bluegrass} Recording Grammy, it was an acknowledgement of the talent and poise the former child prodigy had shown through her first three albums. The album's tantalizing blend of tasteful {\folk} and {\traditional bluegrass} certainly deserved the award. But {^Old Feeling} was more important as a footbridge to where {$Krauss} would take her music -- and {\bluegrass} itself -- over the next decade. It blended {\country} and {\bluegrass} with {\pop} elements (the latter being most evident on {&"Longest Highway"}) in such an effortless way, the album couldn't possibly be seen as a play for the mainstream. The sentiment behind the gentle sway of {&"It's Over"} and {&"Wish I Still Had You"} was universal; blended into the honeyed voice of {$Krauss}, it was irresistible. At the same time, the playing on {&"Will You Be Leaving"} and {&"Dark Skies"} was not only technically skilled, but startlingly genuine. ({$Sam Bush}'s mandolin and the dobro leads of producer {$Jerry Douglas} were particularly impressive.) The record was imbued with the same old feeling that {$Krauss} and her {$Union Station} guitarist {$Dan Tyminski} would later draw upon for {^O Brother, Where Art Thou?} -- it was a {\bluegrass} album at heart, but it came from a place where emotion and honesty weren't labeled with a genre tag. ~ Johnny Loftus, All Music Guide