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Allman, Gregg - low country blues [2011]
Die Kritiker sind voll des Lobes! Kein neues Album der Allman Brothers, aber ein großartiges, neues Solo-Werk von Gregg Allman. Traditioneller, ursprünglicher, sehr authentischer Blues(rock), wobei die Blueskomponenten klar im Vordergrund stehen. Durch die Musik, wie sollte es auch anders sein, zieht eine herrliche Brise Southern-Soul, allein schon durch Gregg's unverwechselbaren Gesang. Und er ist prima bei Stimme. Eine beeindruckende, ja ganz starke Vorstellung des Ober-Allmans!

Hier der Kommentar von "Hittin' The Note" zu diesem Werk im Original:

Gregg Allman is one of the most iconic blues singers of all time, a certified rock star and member of the Rock and Roll Hall of Fame who has been the voice of the Allman Brothers Band for over four decades. T Bone Burnett is the most celebrated producer in music today, winning a Grammy for Alison Krauss and Robert Plant's collaboration Raising Sand and producing everybody from Elvis Costello to Elton John and Leon Russell. What do you get when you combine these two legendary talents?
The answer is Low Country Blues, the finest roots-blues record in years. With the help of T Bone's usual gang of master musicians, including a memorable turn on piano by New Orleans' own Dr. John, Gregg sings the blues as only he can, and Burnett captures the magic with the clarity and purity that have become his hallmark as a producer. Gregg's solo efforts in the past have tended to be more song-oriented and less jam-focused than the Allman Brothers Band, and this is no exception. The emphasis is on vibe and feel, with Gregg squarely in the spotlight where he belongs.
The bulk of Low Country Blues consists of classic blues tunes, all showcasing Gregg's signature vocals and B-3 work, but the album also features "Just Another Rider," a great new song Gregg co-wrote with Warren Haynes. This plaintive anthem picks up where "Midnight Rider" left off, continuing the mythology of the wandering, road-hardened gypsy that has always been a part of Allman's persona.
Of the blues tunes, standout tracks include a positively fierce version of Muddy Waters' "I Can't Be Satisfied," with Gregg wailing the blues. Other highlights are the rollicking "I Believe I'll Go Back Home," the R&B joy of "Please Accept My Love" and the brooding seven-minute version of "Rolling Stone" that closes the album, but one of the best things about Low Country Blues is how it all flows together into one piece of music. It's a true album as opposed to a collection of songs, and it's hard to pick favorites from this record without feeling like you're leaving something out. Words like "timeless" and "classic" get thrown around too lightly sometimes, but this album would have sounded great in 1960, it sounds great now, and it will still sound great in 2060.

Das komplette Tracklisting:

1 Floating Bridge - 4:45   
2 Little By Little - 2:45   
3 Devil Got My Woman - 4:52   
4 I Can't Be Satisfied - 3:31   
5 Blind Man - 3:46   
6 Just Another Rider - 5:39   
7 Please Accept My Love - 3:07   
8 I Believe I'll Go Back Home - 3:49   
9 Tears, Tears, Tears - 4:54   
10 My Love is Your Love - 4:14   
11 Checking On My Baby - 4:06   
12 Rolling Stone - 7:04

Art-Nr.: 7242
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

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Black, Clint - out of sane [2020]
Clint Black ist neben George Strait und Alan Jackson zweifelsohne einer der bedeutendsten und erfolgreichstem Traditionalisten der Neunziger und frühen Zweitausender Jahre, als die Countrymusic in den Charts noch nicht so "popverseucht" wie heute war. Etliche Nr. 1-Hits stehen für ihn zu Buche. Nun meldet er sich, 5 Jahre nach seinem letzten Werk "On purpose", endlich mal wieder mit einem neuen Album zurück. Und er ist noch immer der Alte. Traditionelle, "echte" Countrymusic, wie wir sie von Clint Balck seit jeher kennen. Mal schön flott, mal im gepflegten Midtempo, aber auch mit einigen schönen Balladen transportiert er seinen typischen Traditional Country unverfälscht in die heutige Zeit. Seine vielen Fans werden es ihm danken. Ein feines Album!

Hier ein Original U.S.-Review zu "Out of sane":

The praise that’s been heaped upon young guns such as Luke Combs, Jon Pardi and Cody Johnson in recent years for helping to revive the sounds of ‘90s country is certainly warranted. We’re not looking to take anything away from them. But we’d be fantastically remiss for not giving a great deal of love to the greats who actually shaped that pre-millennial sound and are still out there making music–and making it rather well.
For his 23rd studio album, and first in five years, Clint Black has drawn from the deep well he originally built his legend upon. Out of Sane, which the Texas native produced and co-wrote all but one track on, is a straight-forward, honest effort from beginning to end. In some cases, that means its refreshingly simple, lacking any pretense, but at other times, the earnestness can be a tad overpowering.
It would be understandable for a veteran such as Black, whose commercial chart-topping days are behind him, to try and update his product into something today’s radio programmers might be compelled to put onto their playlists. Thankfully Black is secure enough in his own talent, fanbase and legacy to avoid such an artistic identity crisis.
The album-opening “Hellbent” is an electrified, crawling rock-inflected number that, thanks to Black’s low southern drawl, carries enough country weight for things to feel decidedly twangy. Similar to Garth Brooks’ most rocking songs (think “Rodeo”), it doesn’t seem as though Black could crank the amps loud enough for things to ever be anything but honky-tonk ready.
Another tune where the tempo meanders while Black’s deeper vocals take center stage is the ominous, almost menacing “Down To It.” It’s a love song, and its plenty country, but the dark, almost stalker-like sonic vibe suggests the recipient of the narrator’s affections isn’t in the biggest hurry to reciprocate.
It’s not all swirling electric guitars though, of course. Black lightens things up impressively with the sorts of fiddle-packed tunes you rarely hear on mainstream country radio now but were plentiful three decades ago. The swinging “My Best Thinking” and the harmonica-drenched “Found It Anyway” feature stomping rhythms and an undeniable fool-good spirit.
If you can listen to the bouncy “Can’t Quit Thinkin’ and not immediately envision a packed dance floor of line-dancing starched Wranglers, then go search “Wildhorse Saloon” on YouTube. And the sunshine pokes through with the bluegrass-powered “With Love” and the soulful, laid-back “Beautiful Day.”
Black does step away from his most comfortable of ranges on this record with mixed results. In the piano ballad love letter to his country, “America (Still in Love With You),” Black seems to be shooting for Lee Greenwood-size patriotic bombast by singing from a schmaltzy Hallmark card. And in the album-closing “What I Knew Then,” he employs an odd voice modulation in the chorus that robs the rocking song of any momentum, making it sound like some wacky ‘80s action figure commercial.
Make no mistake, not all the surprises here take a wrong turn. The bluesy “Find Myself” is a moody gem, and the up-tempo “The Only One” is a searing Tom Petty-esque rocker. The biggest, most pleasant surprise of all is that the one song out of the dozen on the record Black didn’t write is the one he shines brightest on.
Black’s cover of Harry Nilsson’s 1968 hit “Everybody’s Talkin’” is a fully plugged-in roadhouse rager. With tons of wall-rattling reverb backing him, Black absolutely nails that iconic high vocal note towards the song’s end. As much as any other song here, there’s little doubt this would’ve been yet another Number One single for Black had it been released during the Clinton Administration.
The signature marks Black has come to be best known for, like stellar guitar work, boldly clear baritone vocals and straight-forward country storytelling, are quite present and accounted for. In the midst of some questionable left turns and exciting surprises, such dependable constants are comforting and completely welcome. Through it all, Out of Sane, is a fine record, and most importantly, it’s a genuinely unmistakable Clint Black record.
(Kelly Dearmore / Sounds Like Nashville)

Das komplette Tracklisting:

1. Hell Bent - 4:13
2. My Best Thinkin' - 3:59
3. America (Still in Love With You) - 4:03
4. With Love - 3:32
5. Everybody's Talkin' - 3:31
6. Found it Anyway - 3:07
7. A Beautiful Day - 3:57
8. Down To It - 4:32
9. The Only One - 4:09
10. Can't Quit Thinkin' - 3:27
11. Find Myself - 3:06
12. What I Knew Then - 4:14

Art-Nr.: 10092
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 13,90

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David, Nicholas - yesterday's gone [2019]
Die in der Bluesrock-Szene mittlerweile hoch angesehene, grandiose Gitarristin, Songwriterin und Performerin Samantha Fish glänzt nicht nur selbst mit der Veröffentlichung hochklassiger Alben, sondern etabliert sich auch immer mehr als Förderin junger, hoch talentierter Kollegen, wie zum Beispiel dem exzellenten Gitarristen Jonathon Long, der im vergangenen Jahr über Fish's eigenes "Wild Heart"-Label ein klasse, von ihr produziertes Album veröffentlichte. Neuester, vielversprechender Künstler, den sie nun "am Haken" hat, ist der vorzügliche Songwriter, Keyboarder und Sänger Nicholas David aus St. Paul/Minnesota, dessen neues, wunderbares Album "Yesterday's gone" Miss Fish ebenfalls produzierte und nun über "Wild Heart Records" veröffentlichte. "David has an unbelievable voice and is a strong songwriter", urteilt ein amerikanischer Rezensent - und er hat absolut recht. Der einstige Finalist (2012) der U.S.-"The Voice"-Ausgabe verfügt über eine ungemein warme, sehr angenehme, einem sofort vertraut und dennoch einzigartig vorkommende Stimme voller Soul und Southern-Feeling, die nahezu perfekt zu seiner Musik passt. Seine Musik ist eine, auch instrumentell ungemein ausgewogene Mischung aus Roots-, Blues-, Rhythm and Blues-, Pop- und Soul-Anlagen, durch die eine herrliche, seichte Southern-Brise weht. Samantha Fish hat dabei einen ganz vorzüglichen Produzenten-Job gemacht, denn alles klingt angenehm natürlich und authentisch. Das Songwriting (alle Tracks hat Davis selbst komponiert) ist großartig. Die vorwiegend "piano-driven" Songs werden sehr ausgewogen mit wunderbaren Gitarren veredelt (Duane Betts und Jonathon Long), kommen mit feinen Melodien, hinreißenden Grooves und viel Southern Soul. David durfte im Studio mit einer Band, bestehend aus absolut hochkarätigen Bgelitmusikern arbeiten, die natürlich einen nicht unwesentlichen Teil zum Gelingen des Albums beitrugen, wie zum Beispiel Duane Betts (Allman Betts Band) an der Lead Gitarre (bei 4 Tracks), Jonathon Long (guitars), Charlie Wooton (Royal Southern Brotherhood) am Bass, Scott Graves (drums), und einigen mehr. Davis selbst spielt sämtliche Keyboards. Der großartige Opener "Hole in the bottom" definiert sofort den charakteristischen "Ton" dieses klasse Albums. Die Nummer ist ein voller Seele steckender, mit führendem, harmonisch gefääligem Piano- und Orgelspiel ausgestatteter, herrlich groovender, von einem erfrischenden, lockeren, flotten, wunderbar beschwingten Rhythmus getragener, southern-flavoured Roots-/Blues-/Soul-Rocker, in dessen zweiter Hälfte Dickey Betts' Sohn Duane gleich seinen großen Lead Gitarren-Auftritt hat. Was für ein herrliches, lässiges, ausgedehntes Solo - in bester Betts-/Allmans-Tradition. In dieser Konstellation hätte die Nummer auch glatt von der Allman Betts Band stammen können. Stark! Klasse auch beispielsweise das retro-buesige, voller Southern Soul steckende "Heavy heart" (wieder Betts mit feiner Lead Gitarre) , der southern-infused R & B-Track "With or without" (viel Soul, prächtige Piano-Klänge, schöne Gitarren-Licks), das mit Bruce Hornsby-mässigem Pianospiel inszenierte, knackige, rootsige, leicht southern-bluesige "Curious", der lockere Roots-Southern-Blues "Let u go", das zunächst in einem akustischen Ambiente beginnende, nach rund 40 Sekunden dann aber ordentlich knackig und southern-bluesig, rootsig rockende "Stars" (dezenter Howling Wolf-Touch, tolle Melodie, exzellentes Piano-, Orgel- und Gitarrenspiel), sowie das ein wenig in JJ Cale-/Clapton-Manier groovende "Little by little". Nicholas David zeigt eindrucksvoll sein großes Talent. "Yesterday's gone" ist ein Album geworden, das mit den beteiligten Musikern, Frau Fish an den Reglern und natürlich dem Protagonisten selbst, vor allem auch "mannschaftlich" voll überzeugt. Southern, soulig, rootsig, bluesig - einfach schön!

Hier noch ein Original U.S.-Review:

Perhaps the secret behind Nicholas David’s organic, natural sound is as simple as letting the music arise organically and naturally. There was no apparent rush to create Yesterday’s Gone, released three years after With These Hands. In fact, his time spent opening for, and playing with the Devon Allman Project, seems to have been the catalyst behind the musical connections and inspirations that define his newest album. Recorded in New Orleans with the guiding hand of Samantha Fish, the team of David (vocals, keys), Duane Betts (guitar), Jonathan Long (guitar), Charlie Wooten (bass) and Scott Graves (drums) deftly blends southern soul and blues into an earthy, 11-song collection.
Sharing a similar timbre with its predecessor, Yesterday’s Gone heavily features David’s voice, and it sits high in the mix throughout the album—as it should. Its raw richness serves as the natural focus, but the songwriting and instrumental accompaniment are equally impressive. The mostly upbeat tracks all boast lush, warm, analog sounds that vary in number and amplitude as the songs require. The production is meticulous without being overwrought.
“Hole in the Bottom” sets the tone for much of the album with a heavy emphasis on David’s voice, piano and organ leads, and a willingness to make dynamic changes within individual songs. An understated guitar solo carries the second half of the tune up to the gentle revisitation of the main piano theme. “Heavy Heart” changes tempo, but maintains many of the same characteristics, namely, great playing and an honest, soulful feel.
The first true standout, “With or Without,” begins with and builds around a memorable melody delivered through a dual-guitar harmony. As much as David can carry a song on his own, the shared spotlight with another musical aspect really brings the track to fulfillment. Jazzier than its album-mates, “Curious” employs the same focus-shift away from David’s vocals, and towards the accompaniment that usually buoys the song and the singing.
A true New Orleans gumbo has to include a touch of R&B and a smattering of soul; “I’m Interested” and “Peel Back the Leaves,” respectively provide those ingredients. “Times Turning” opens with an emotive, cascading piano progression that shares space with the album’s most poignant lyrical verses. Immediately contrasting the simple structure of “Times Turning,” “Stars” shines as a multipart composition with an anthemic chorus. Between those two numbers and “With or Without,” a case can be made for any being the best song of the set.
"Little by Little,” a fun, jangly number, closes the album with a Crescent City flavoring of sounds. Yesterday’s Gone’s many components all play their part in making this album a winner. First listenings will undoubtedly gravitate towards David and his mellifluous voice, but each subsequent visit will peel back another layer of the sonic onion. “Peel back the leaves, just one more day, break off the bark, so the roots will stay.” Nicholas “Family Man” David and his cohorts plant profoundly deep roots on this effort. (Willie Witten / Blues Rock Review)

Das komplette Tracklisting:

1. Hole in the Bottom - 3:46
2. Heavy Heart - 5:11
3. With or Without - 5:03
4. I'm Interested - 4:59
5. Peel Back the Leaves - 3:17
6. Curious - 5:50
7. Okay - 5:46
8. Let U Go - 4:14
9. Times Turning - 5:00
10. Stars - 4:35
11. Little by Little - 5:13

Art-Nr.: 9965
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
Hole in the bottom
Heavy heart
With or without
Curious
Let u go
Stars
Little by little

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Golden Smog - another fine day [2006]
"Another fine day" ist mehr als nur "another fine album" dieser Roots-"Supergroup", die uns zuletzt vor 8 Jahren mit einem gemeinsamen Werk verzückte. Es ist ein faszinierendes Teil geworden, das die ganze Magie der Protagonisten erneut in 15 kleinen, wundervollen Meistersongs (über 64 Minuten Spielzeit) bündelt und den Zuhörer eintauchen läßt in ein genußvolles Bad aus herrlichen Roots-Pop-/Rock-Collagen, die uns einen erfrischenden Duft wunderbarer Sixties-Retro-Anleihen, psychedelischer Mystik, traumhafter Harmonien, sinnlicher Romantik, knackiger Brit-Beats und dreckig rockender Gitarren Roots-Energie um die Nase wehen lassen! Alle sind sie wieder an Bord, kurzzeitig entlassen von ihren "Hausbands", sich diesem großartigen Projekt zu widmen: Jeff Tweedy (Wilco), Gary Louris und Marc Perlman (beide ex-Jayhawks), Dan Murphy (Soul Asylum) und Kraig Jarret Johnson (Run Westy Run)! Eingespielt in Puerto Santa Maria im Süden Spaniens (!) unter der erstklassigen Regie von Produzent Paco Loco haben sie zudem noch ein paar fantastische Mitstreiter dabei, wie beispielsweise die großartige Drummerin von Steve Wynn's Miracle 3, Linda Pitmon! In ihrer Musik vereint sich selbstverständlich der Spirit ihrer Herkunfts-Bands, doch am ehesten klingt das Ganze wie eine Synthese aus den Jayhawks und Wilco, in die man ein breitgefächertes Spektrum diverser Elemente solcher Künstler wie Gram Parsons, den Eagles, Led Zeppelin, den Replacements, den Kinks (Jeff Tweedy singt hier ein klasse Coverversion von Dave Davies' "Strangers"), Uncle Tupelo, aber auch moderner Acts wie den Flaming Lips oder My Morning Jacket mit einbezieht. Auch wenn mit vielen "Sounds" experimentiert wird, so bestimmen doch weitestgehend die Gitarren das Geschehen! Die Songs sind hervorragend strukturiert und bestechen mit wunderbaren Melodien! Einzelne Songs herauszuheben erübrigt sich. Ob das Sixties-mäßige, poppige "You make it easy", das von schwebenden Klängen getragene, psychedelische, gleichzeitig von einer traumhaften Melodie durchzogene "Another fine day", der kantige, riffige Rootsrocker "Corvette", usw., sie alle haben ihren eine ungemeine Anziehungskraft ausübenden Reiz! Was für ein großartiges Album!

Art-Nr.: 4322
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 14,90

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Golden Smog - blood on the slacks [2007]
8 Track-EP! Erst hat's geschlagene 8 Jahre gedauert, bis sie mal wieder mit einem neuen Album auftauchten, nun folgt gerade mal 9 Monate nach dem großartigen "Another fine day" ein überraschender, nicht minder starker Nachschlag in Form einer 25-minütigen EP mit 8 weiteren, kleinen Songperlen. Wieder begeistert uns diese allseits geliebte Roots-"Supergroup" um Gary Louris und Marc Perlman (beide ex-Jayhawks), Dan Murphy (Soul Asylum) und Kraig Jarret Johnson (Run Westy Run), - Wilco's Jeff Tweedy ist diesmal nicht mit an Bord-, mit einem wunderbaren Mix aus Rootsrock, Americana, Alternate Country, feinen Sixties-Retro-Anleihen, psychedelischer Mystik, ausgefeilter Harmonien, knackiger Brit-Beats und dreckig rockender Gitarren. Zwei der Songs stammen noch aus den "Another fine day"-Sessions und wurden im Süden Spaniens unter der Regie von Produzent Paco Loco eingespielt, der Rest ist brandneu aufgenommen, produziert von Ed Ackerson und Golden Smog! Zu den Highlights zählen ein tolles, knackiges, in bestem Jayhaks-Stil dargebotenes Roots-Cover von David Bowie's "Starman", eine akustisch interpretierte Version der Dinosaur jr.-Nummer "Tarpit", die herrlich flockige, melodische Rootsrock-/Pop-Nummer "Can't even tie your own shoes", der leicht britisch geprägte, mit "lustigen" Bläser-Intermezzi garnierte Rootsrocker "Look at you now", wie auch die exzellente, melodische, entspannte, semi-akustische, in ein tolles Gitarrengewand gehüllte Americana-/Alternate Country-Nummer "Without a struggle"! Abermals eine vorzügliche Leistung der Truppe, die sich die Fans voller Genuß verinnerlichen werden.

Art-Nr.: 4924
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 11,90

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Guy, Buddy - rhythm & blues [2013]
2 CD-Set! 3 Jahre nach den Grammy-dekorierten "Living proof" veröffentlicht Meistergitarrist und lebende Blues-Legende Buddy Guy sein neues Album, und zwar gleich eine Doppel-CD. Bereits im Vorfeld wird "Rhythm & Blues" als eine weitere, absolute musikalische Sternstunde in der langen Karriere Guy's gefeiert, und die ersten Reviews bestätigen diese Vorschußlorbeeren nachdrücklich. Ein paar der Songs des neuen Werkes hat der Meister mit einigen hochkarätigen Gästen eingespielt, was einmal mehr seine einzigartige Verbindung zwischen Tradition und Moderne offenbart. Mit dabei waren der neue, junge Guitarhero des Blues, Gary Clark jr., Beth Hart, aber auch genrefremde Größen wie Keith Urban, Kid Rock und Aerosmith's Steven Tyler, Joe Perry und Brad Whitford. Produziert hat sein langjähriger Weggefährte Tom Hambridge! Der ewig junge Buddy Guy befindet auch mit 76 Jahren noch in der Blüte seiner Karriere. Großartig!

Die offizielle Produktbeschreibung:

Six-time Grammy Award winner and 2012 Kennedy Center Honoree Buddy Guy will release his new studio album Rhythm & Blues. The follow-up to his 2010 Grammy Award winning album Living Proof, this double-disc masterpiece features first time studio collaborations with A-list artists Kid Rock, Keith Urban, Gary Clark, Jr., Beth Hart and Aerosmith members Steven Tyler, Joe Perry and Brad Whitford. Rhythm & Blues will be available for pre-order at all online retailers on June 25th.
Produced by Grammy Award winning producer/songwriter and longtime collaborator Tom Hambridge (Skin Deep, Living Proof), Rhythm & Blues captures the 76 year-young Guy at the peak of his creativity. Replete with heartfelt vocals, straightforward lyrics and mesmerizing guitar licks, Rhythm & Blues not only exemplifies how blues continues to be the foundation of all genres of today's music, it also illustrates why Guy has been influential in the careers of Eric Clapton, Jimi Hendrix, Jeff Beck, Stevie Ray Vaughan and more.
The Rhythm disc includes rhythm and blues-style blues with deep grooves, such as the Junior Wells' 1960 hit "Messin' With The Kid" featuring Kid Rock, the touching "One Day Away" with Keith Urban, and "What You're Gonna Do About Me," a rousing duet with Beth Hart. Guy rounds out the disc with "Best In Town," "Whiskey Ghost," Guitar Slim's "Well I Done Got Over It" and more.
The Blues disc taps into the genre's rich history with "Meet Me In Chicago," "I Could Die Happy," "Never Gonna Change" and "All That Makes Me Happy Is The Blues." Aerosmith's Tyler, Perry and Whitford contribute to the musical lesson with "Evil Twin" while Gary Clark, Jr. joins Guy on "Blues Don t Care."
In a career that spans nearly 50 years with over 50 albums released, the incomparable Buddy Guy recently added the prestigious Kennedy Center Honors and NARM Chairman's Award for Sustained Creative Achievement to his long list of achievements. Guy is the recipient of 30 awards and accolades, including 6 Grammy Awards, 28 Blues Music Awards (formerly W. C. Handy Awards), Rock and Roll Hall of Fame induction, the first annual Great Performer of Illinois Award, a Billboard Music Awards' Century Award for distinguished artistic achievement, the Presidential National Medal of Arts, in addition to being listed as one of the 100 Greatest Guitarists of All Time by Rolling Stone.

Hier noch ein begeistertes U.S-Review:

Buddy Guy – Next to Muddy Waters and Howlin’ Wolf, his name personifies Chicago blues. Considering he’ll be 77 years old on July 30th, you’d think he’d be ready to sit down and take it easy. His new album is proof that like good whiskey and fine wine he’s just gotten better with age. For Buddy’s birthday he gives us all a gift with Rhythm & Blues, a two disc album filled with some stellar collaborations and which after over 50 albums is probably one of his best releases.
This album is once again produced by the Grammy winning producer Tom Hambridge (Living Proof, 2010). A musician who is criminally unknown for his own blues rock releases. Tom Hambridge plays the drums throughout the album. After that there are two basic all-star sets of musicians. The first consists of David Grissom (guitar), Reese Wynans, (B3), and Michael Rhodes (bass). The second set consists of Rob McNeely (guitar), Kevin McKendree, (B3), and Tommy MacDonald (bass). As if the musicianship wasn’t enough in the above list, Buddy also has the following guest stars; Kid Rock, Gary Clark Jr., Beth Hart, Keith Urban, and Aerosmith’s Steven Tyler, Joe Perry and Brad Whitford, who all contribute something unique and interesting.
With two discs of quality material to pick from it’s difficult to discuss them all. Suffice to say there isn’t a bad track. So we’ll just discuss the highlights.
Disc 1: “Justifyin’” is the second track and it is a fast rockin’ powerhouse of a track. It’s amazing that Buddy can rip notes off his guitar at that rate at almost 77 years old. “I Go By Feel” slows things down as Buddy explains a conversation with an old blues teacher when he was younger and how the concept that feel is what sets a great musician apart from someone who is technically capable. You can throw all the notes at someone you want but there is that connection with a few simple notes where an artist can express all the emotion of the song. Buddy next teams up with Kid Rock to cover the appropriately named Elmore James tune “Messin’ with the Kid,” which Buddy played guitar on way back in 1965. Kid’s gruff voice actually meshes well with the attitude of the song. Shortly after that we get a cover, “One Day Away,” which was written by one of Buddy’s long time touring guitar players, Scott Holt, who is another artist everyone should check out. Keith Urban lends his country swagger to the song singing about telling someone you love them and the need to seize the day and to not wish one day away. Beth Hart steps up next and let’s everything rip on the spectacular track “What You Gonna Do About Me” as she trades lyrics with Buddy, proving once again why she is one of the powerhouse female vocalists of this generation.
Disc 2: The second disc starts out with a tribute to Buddy’s hometown with “Meet Me In Chicago.” Buddy lists the highlights of his hometown, like deep dish pizza, Wrigley Field, Soldier Field, Wabash Avenue, and in Buddy’s typical humble style he of course lists Buddy Guy playing the blues, which is reason enough to come to Chicago. “Evil Twin” brings the members of Aerosmith in for a straight up blues anthem. “All That Makes Me Happy is the Blues” is slow blues that is all about exactly what the song title says it is. Blues is known for being a genre of music about sadness, but it’s not meant to be sad. It’s really meant to be an uplifting release of all of our problems. The final track that stands out on here is collaboration with Gary Clark Jr. on the rollicking “Blues Don’t Care.”
Buddy will always be one of the legends of the blues. He has always blurred the lines between blues and rock and roll. Filled with his signature tone and that Buddy Guy attitude, Rhythm & Blues just continues to cement his legacy as one of the greatest guitar players.
(Kevin O’Rourke/Blues Rock Review)

Das komplette Tracklisting:

Disc 1
1. Best in Town
2. Justifyin'
3. I Go by Feel
4. Messin' with the Kid (featuring Kid Rock)
5. What's Up with That Woman
6. One Day Away (featuring Keith Urban)
7. Well I Done Got over It
8. What You Gonna Do About Me (featuring Beth Hart)
9. The Devil's Daughter
10. Whiskey Ghost
11. Rhythm Inner Groove

Disc 2
1. Meet Me in Chicago
2. Too Damn Bad
3. Evil Twin (featuring Steven Tyler, Joe Perry & Brad Whitford)
4. I Could Die Happy
5. Never Gonna Change
6. All That Makes Me Happy Is the Blues
7. My Mama Loved Me
8. Blues Don't Care (featuring Gary Clark jr.)
9. I Came Up Hard
10. Poison Ivy

Art-Nr.: 8245
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 15,90

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Haggard, Merle - i am what i am [2010]
Brandneues Album der mittlerweile 72-jährihen Countrymusic-Legende aus Californien, Haggard, der zusammen mit Buck Owens den Bakersfield-Sound massgeblich mit prägte, zählt zu den ganz Großen der klassischen, zeitgenössischen Countrymusic, dessen Einfluss auf unzählige Musiker nach wie vor ungebrochen ist. Und das er's noch immer kann, beweist er eindrucksvoll mit seinem neuen Werk: Klassischer Haggard-Country ohne jeden modernen "Firlefanz", authentisch auf den Punkt gebracht.

Hier die ausführliche Original-Produktinformation des Labels zu dieser Veröffentlichung:

California country music legend Merle Haggard's debut Vanguard release, I Am What I Am bristles with all the arresting qualities for which this unrivaled artist is prized. Every song is imbued with the near alchemical power of his dazzling vocal performances, and Haggard's interpretive mastery and unmatched phrasing continues to bring on impressive measures of sensitivity, candor and authority. Never conventional, often confrontational, always outspoken, the 72 year old Haggard remains as aggressively bent on revealing unspoken truths as ever.
From the astonishing opener, "I've Seen It Go Away," Haggard throws a flurry of knock-out punches. A stunningly blunt rundown of contemporary America's cultural decay--targeting everything from politics to pop music--it's prescient and pessimistic, but carries an unflinching honesty that trumps mere cynicism. When he sings "I`ve seen it all completely fall apart / and I`ve seen our greatest leaders break their peoples heart" it`s downright chilling, but the album doesn't dwell on woe. It's a typically far-reaching set, but remains centered around a series of contemplations on love, in all of its intoxicating and vexing forms. Examining romance with a poet's beatific vulnerability, Haggard travels from the ardent bloom of romance to the intricate ensemble of family life to the burnt out confusion of fading passion, yet always returns to love`s eternally redemptive power. This is Hag at his best, with his hair down, remarkably intimate and sincere.

Over a distinguished fifty year-plus career that's taken him from a drastically misspent criminal youth to solitary confinement in San Quentin to the Country Music Hall of Fame, Haggard has memorably portrayed, in song, myriad archetypal characters. Whether fugitive, troubadour, misfit or crusader, he's explored each perspective with a critical acuity, a hard-won skill that's allowed him to score no less than 40 number one country hits. With I Am What I Am, Haggard really looks inward, going all the way back to his Oildale childhood on sentimental reminiscence "Oil Tanker Train," which Haggard called "My favorite song on the album--that's a true deal." Rough-edged numbers like "Stranger in the City" and the rowdy "Mexican Band" carries the set all the way up to the singer's still barely-controlled hell-raising ways--on the latter, he unforgettably declares "Agave makes me dance on my hands." But on tracks like "Pretty When It's New," a study of new love's marvelous voltage, and "How Did You Find Me Here" which convincingly takes him from morbid depression to elated joy, Haggard sounds almost re-born, intensely involved and consumed with a sheer sense of wonder that's enhanced further by those characteristically masterful vocals.

Recorded with his ace band the Strangers, many of whom have been at Hag's side for decades, at his Northern California headquarters, the Shade Tree Manor studio, and co-produced by indispensable, longtime cohort Lou Bradley, the album was largely a family affair. "It was pretty much just the Strangers, but Reggie Young and Rob Ikes played on it, and we had an additional drummer that worked with us, George Receli from the Bob Dylan band." Haggard said. "Sometimes we try to find an inspiring player, to come and inspire us." That quality was clearly not in short supply, and Haggard's musical concepts and execution continue to flabbergast.

Equally at ease with hard country realism and jazz-informed expression, Haggard's songwriting is operating at an entirely new and impressive artistic plateau. "Bad Actor" is a remarkable soliloquy on married life and the vortex of hope, guilt, confusion and doubt it can instill. Delivered in the simplest language yet dealing with some highly intricate and subtle emotional issues, it is an altogether moving and unique achievement. Haggard's often closely guarded innocence is completely exposed, showing an incredible tenderness that, considering the counterpoint of his battle-scarred, hardened exterior, creates a profoundly resonant experience.

Closing with "I Am What I Am," the title track's unflinching self-assessment crystallizes the singer's own personal state of the union. Equally relaxed and ornery, confident, focused and as controversial as ever, Haggard knows exactly who he is--"a seeker and a sinner"--and taken with the fierce opening salvo of "I've Seen It Go Away," he still refuses to downplay or shy away from our common, harsh reality. "Its pretty sad actually, it just seems like its one thing after another that we lose every day." Haggard said. "You get up, turn on the radio and something else went down the drain. I guess people like you and I--people that care--have got to bind together somehow, and maybe doing that through the music is the best way." (Vanguard)

Die komplette Songliste:

1 I've Seen It Go Away - 3:00   
2 Pretty When It's New - 3:12   
3 Oil Tanker Train - 3:02   
4 Live and Love Always - 2:30   
5 The Road To My Heart - 2:50   
6 How Did You Find Me Here - 3:55   
7 We're Falling In Love Again - 3:31   
8 Bad Actor - 3:28   
9 Down At the End of the Road - 3:10   
10 Stranger In the City - 2:09   
11 Mexican Bands - 3:27   
12 I Am What I Am - 2:38

Art-Nr.: 6870
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 16,90

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Mathus, Jimbo & The Tri-State Coalition - white buffalo [2013]
Rural Guitar-Rootsrock, Americana, Mississippi Swamp-Rock, Delta-Blues, Alternative Country Rock, Hill Country Blues, Southern Soul - welcher dieser Bezeichnungen man für die mitreissende Musik dieser begnadeten Truppe auch verwenden mag, es passt immer. Jimbo Mathus und seine Band The Tri-Star Coalition (die Burschen kommen aus den drei verschiedenen U.S. Bundesstaaten Arkansas, Missouri und Mississippi) nennen es schlicht "Catfish Music". Sie legen mit ihrem neuen Album "White buffalo" geradezu ein Meisterwerk amerikanischer Roots-Musik hin. Mathus war der Kopf der sehr bekannten, mittlerweile aufgelösten, verrückten "Hyper-Ragtime" Rock-Formation Squirrel Nut Zippers, doch von seiner Herkunft und musikalischen Natur her ist der Mann aus Mississippi ein überaus produktiver, genialer Songwriter für durch und durch authentische "born-in-the-bone Southern music", ein Fahnenträger für die Kultur und die Mythologie des Südens. Genau das setzt er mit seiner fantastischen Band (neben Jimbo Mathus: lead vocals, lead guitar, mandolin sind das Matt Pierce: Telecaster guitar, Eric Carlton: keyboards, Terence Bishop: bass und Ryan Rogers: drums) auf beeindruckende, packende Art und Weise um. Jimbo Mathus beschreibt den "Tri-Stste"-Sound als "a true Southern amalgam of blues, white country, soul and rock'n roll". Besser kann man's nicht ausdrücken. Und die Musik der Truppe hat richtig Feuer. Bestimmt wird sie vorwiegend von einem sehr transparenten, vielschichtigen Gitarrensound, immer wieder kongenial ergänzt durch Orgel- und/oder Piano-Untermalungen und einer knackig troscken agierenden Rhythmusfraktion. Es herrscht ein vorwiegend raues, durchaus dreckiges, zuweilen aber auch sehr natürliches, frisches Ambiente, gepaart mit wunderbaren Melodien, das durch eine exzellente, sehr klar abgestimmte, "tighte" Produktion perfekt in Szene gesetzt wird. Verantwortlich dafür zeichnet niemand Geringerer, als Roots-König Eric "Roscoe" Ambel (u.a. the Del Lords, The Yayhoos, Steve Earle). Es muss aber auch einen Heidenspass gemacht haben, dieses umwerfende Songmaterial ins richtige Licht zu rücken. Gleich die erste Nummer, "In the garden", ist ein Knüller: Trockene, wunderschöne Mandolinen-Riffs erklingen, Jimbo's ungemein inspirierter, ausdrucksstarker Gesang setzt ein und langsam kommt die ganze Band ins Rollen. Wir hören ein großartiges Akkordeon, dreckige E-Gitarren, dazu flüssige Telecaster-Linien, ein gewisses Soul- und Gospel-Flair und einen tollen, swampigen Groove. Southern-/Delta-/Rootsrock, der einen unwiderstehlich in seinen Bann zieht. Im Verlauf des Albums haut die Truppe dann einen Haufen krachender Rocker raus, wie etwa das fulminante, schwer kochende Titelstück "White buffalo", ein von massiven E-Gitarren (lichterloh brennendes, dreckiges Solo) und fetter Orgeluntermalung bestimmter Volldampf Roots-/Southern-/Bluesrocker, der gar einen Hauch von Hendrix verbreitet (allerdings auf Mississippi-/Roots-Terrain), oder das an die Georgia Satellites, aber auch an die North Mississippi Allstars erinnernde "Fake hex", besticht aber auch mit einigen hinreissnden (Alternative)Countrynummern, wie zum Beispiel das grandios arrangierte "Poor lost souls", das klingt, als sei es einer imaginären, gemeinsamen Session von Hank Williams, Johnny Cash, Gram Parsons und The Band entsprungen (tolle Akkordeon-Klänge, schöne Mandolinen-Fills und herrliche, "mehrstimmige" Gitarrenlinien). Bärenstark auch die knackige, erdige Ballade "Tennessee walker mare" mit ihrer großartigen Melodie, Mathus' tollem, angerauten Gesang und einem Gitarrenbreak, das gar an The Allman Brothers Band zu erinnern scheint. Es ist alles gesagt und doch wiederholen wir uns gerne noch einmal: Jimbo Mathus & The Tri-State Coalition's "White buffalo" ist schlichtweg ein Meisterwerk. Das ist sie, die grandiose, fesselnde "Catfish"-Musik des amerikanischen Südens!

Als Beispiel, wie dieses großartige Album in den Staaten aufgenommen wird, hier noch, für die, die es interessiert, die ausführliche, begeisternde Besprechung von Brian Robbins, vom renommierten und hoch geschätzten Webzine "jambands.com" im Original:

In 2011, I wrote a review of Jimbo Mathus’ Confederate Buddha album, referring to the music on it as “rooted deeply in Mathus’ beloved Mississippi Hill Country, but the messages contained within the dozen tracks came from – and reach out to – some place far, far away.” My feelings about Confederate Buddha still stand – it’s a hell of a piece of work. But let me tell you something right now, folks: I don’t know what sort of gris-gris Mathus and his Tri-State Coalition (bassist Ryan Rogers, drummer Terrence Bishop, keyboardist Eric Carlton, and guitarist Matt Pierce) called upon during the recording of White Buffalo, but they have conjured up some mighty, mighty fine tunes.
You don’t have to wait for the magic to take hold: Mathus’ sweet mandolin ushers in “In The Garden” while Jimbo doles out some philosophy and advice – rolled in flour and pan-fried to a golden brown by the Coalition, who fall in behind him midway through the first verse. Carlton’s accordion infuses the tune with a Delta vibe; Bishop and Rogers keep the beat simmering somewhere between the Scottish Highlands and a Tibetan mountaintop; Pierce pilots his Telecaster through some amazing twists and turns; and through it all, Mathus’ brave little mando carries the torch that lights the song’s soul. The White Buffalo is off and running.
The best way to get to the core of what this album is all about is to dive right into the middle of the beast: the amazingly eclectic-yet-perfectly-united trifecta of “White Buffalo”, “Hatchie Bottoms”, and “Fake Hex”. The title tune comes roaring out of the speakers with enough force to make you duck your head – all rolling and a’tumbling drums and ga-wooping bass and wailing guitars and flashes of wild-ass voodoo funk ::: JIMI! ::: but there’s not a Cuban heel nor bit of tie-dye in sight; this is flannel-shirted and raggedy-blue-jeaned get-down-to-it psychedelia – as real as the button missing on that there thermal t-shirt, my friend. No sooner has the wild-colored dust and vapors and cymbal sizzles from “White Buffalo” settled than a gently-strummed acoustic guitar wraps its loving arms around you and takes you to “Hatchie Bottoms”. “In 20 and 10 I went back home again to the funeral of my Uncle Bobby …” sings Jimbo – and by the time the rest of the band has fallen into step, you are headed home as well, feeling every ounce of sweet and mournful ache ::: HANK! ::: that Jimbo and the boys lay on you. There’s hardly enough time to wipe your eyes before “Fake Hex” takes off, gee-tars all snapping and biting and chasing their tails in total Some Girls -era Stones glory ::: KEITH! ::: and it’s a hell of a mess Jimbo’s singing about (“Ever since I knew ya, you ain’t brought me nuthin’ but heartache”) but when they go roaring off into the wham/crash/wail of the bridge at 1:37, you’re helpless to do a thing except dance, dance, dance.
And that’s when you realize that what these crazy/talented bastards have managed to pull off is capturing the spirit of some sort of ::: JIMI! ::: HANK! ::: KEITH! ::: HOLY ROCK ‘N’ ROLL TRINITY – not by doing killer impressions or relying on plastic studio-created ambience … no, no, no. What Mathus and the Coalition have done is slow-boiled rock ‘n’ roll right down to its syrupy goodness, and then played it with every ounce of their collective beings – in a big ol’ room with big ol’ mics and a big ol’ vibe.
Sun Studios had it. Big Pink had it. The Basement Tapes and Motel Shot had it. And White Buffalo has it – a function of Mathus’ Delta Recording Service in Como, MS (an old high-ceilinged grocery store converted to a studio – that still shares a building with the local post office); a function of producer Eric “Roscoe” Ambel’s total grasp of who these players are and what they want to do; and a function of the players themselves knowing who they are and what they want to do.
Settling into White Buffalo is like hanging out in a cool old house where every chair is comfy; it’s chock full of moments to burrow into. Mathus’ and Matt Pierce’s harmonized guitar spirals on “Tennessee Walker Mare” are the sweetest you’ve heard since Dickey and Duane made the sun shine on “Blue Sky” while “Run Devil Run” will make the hair stand up your arms and have you brushing swamp vines out of your face that aren’t there.
“(I Wanna Be Your) Satellite” is a neat mix of crunch and velvet – a garage with a Wall Of Sound in the back. The boys lay down passages of cool doo-wop between the growled/yelped sing-‘em-like-you-feel-‘em verses. Eric Carlton’s cheesy-toned organ is the perfect glue; Ryan Rogers’ bass repeatedly builds the tune’s tension up and keeps things on edge; and pay attention to the start-stop-start drum roll that Terrence Bishop goes into at the 1:50 mark – one of the coolest bits of just-right-and-no-more rock rhythm laid down since Mickey Waller’s roll between the first and second verses of Every Picture Tells A Story. (Don’t take my word for it – go look it up.)
“Poor Lost Souls” is another tune whose words are of today, but whose soul comes straight out of an old AM radio speaker with Hank Williams doing the testifying for Mother’s Best Flour: “She’s just a lump of coal/but she could have been a diamond.” (Pierce tickles and prods his Tele into everything from Bakersfield ticky-tick rhythms to heartbreaker pedal steel-ish twang.) “Self?” is a study in introspection, honesty, and crunchy guitars; “Useless Heart” is more of the same – only different. Jay Bennett would’ve loved it.
Interplanetary honky tonk? Born-in-the-bone Americana? Yes and yes – and a few dozen other descriptions would fit, as well. It matters not what you call it, though – Jimbo Mathus and the Tri-State Coalition are playing your song.
Too early to start this year’s “Best Of” list? Nope. And White Buffalo is an easy pick.
(Brian Robbins/jambands.com)

Die komplette Tracklist:

1. In the Garden - 2:56
2. (I Wanna Be Your) Satellite - 2:39
3. Tennessee Walker Mare - 4:53
4. White Buffalo - 3:10
5. Hatchie Bottoms - 3:26
6. Fake Hex - 2:21
7. Poor Lost Souls - 3:42
8. Self? - 2:09
9. Run Devil Run - 4:02
10. Useless Heart - 3:37

Art-Nr.: 8033
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 15,90

In folgende Titel können Sie reinhören:
In the garden
Tennessee walker mare
White buffalo
Fake hex
Poor lost souls
Self?
Useless heart

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MonkeyJunk - moon turn red [2015]
Neues Album der brillanten, kanadischen Bluesrock-Formation MonkeyJunk, dessen brodelndes, musikalisches Gebräu seine Heimat jedoch in den verschiedensten Regionen der USA hat. "Moon turn red" ist wunderbar rockig und kernig geraten, kocht an allen Ecken und Enden und besticht mit faszinierender Musikalität der drei Protagonisten. Wie mit einer gut geölten Maschine unterwegs, durchkämmen MonkeyJunk unaufhaltsam die Grenzgebiete zwischen Swamprock, Boogie, Roots, Classic Rock, Funk, Southern Blues, Delta Blues, Chicago Blues und einem Schuss Muscle Shoals-Soul, alles auf der Basis von absolut mitreissenden Grooves. Die Besetzung der Band gleicht jedoch überhaupt nicht der eines klassischen Bluesrock-Trios, denn MonkeyJunk spielen ohne einen Bassisten. Dennoch entwickeln sie mit ihrer ungeheuren instrumentellen Vielfalt eine dermassen "tighte", druckvolle und kernige Rhythmik, die einen den Tieftöner überhaupt nicht vermissen lässt. Frontmann und Multi-Instrumentalist Steve Marriner beispielsweise macht einen begnadeten Job an der zweiten Gitarre (zumeist Baritone Gitarre), den Keyboards, der Mundharmonica und mit seinem großartigen, charismatischen, hin und wieder entfernt an den guten alten Paul Rodgers erinnernden, "soulful" Gesang. Darüber hinaus verfügt die Band mit Tony Diteodoro über einen außergewöhlich starken Lead Gitarristen, der immer wieder mit rauen, fulminanten Soli und brennenden Slide-Läufen glänzt, sowie mit Matt Sobb über einen vorzüglichen Drummer. Die Drei harmonieren prächtig miteinander und verstehen sich quasi blind. Ihre Arrangements knistern nur so vor musikalischer Soannung und vor Raffinesse, aber auch vor straighter, drückender Direktheit. Wie gesagt, überwiegend rockt's und raucht's gewaltig "im Karton" (genial etwa das ein wenig an die bluesigen Sachen von Free und Bad Company erinnernde, mit einem irren Groove unterlegte und mit herrlichen kurzen Twin Guitar-Riffs verzierte, brodelnde "Live another day"), aber ein zwei Mal besticht die Band auch mit geradezu hinreissend gespielten Balladen, wie zum Beispiel bei dem famosen, souligen, wunderbar melodischen Abschlußtrack "Meet me at midnight". Das komplette Songmaterial ist makellos. Von vorn bis hinten gibt es nicht einen Ausfall oder Füller. MonkeyJunk mit einem packenden, bärenstarken Bluesrock-Werk, das zu den besten im Jahre 2015 gehören wird. Absolut beeindruckend!

Das komplette Tracklisting:

1. Light It Up - 3.39
2. You - 3.49
3. Show Me Yours - 4.10
4. Hot Hot Papa - 4.41
5. Love Attack - 4.32
6. Live Another Day - 5.02
7. Learn How to Love - 5.08
8. Lucky One - 3.01
9. Travelin' Light - 4.26
10. Meet Me at Midnight - 4.51

Art-Nr.: 8984
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

In folgende Titel können Sie reinhören:
Light it up
You
Hot Hot Papa
Live another day
Learn how to love
Travelin' light
Meet me at midnight

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Williams, Zane - snapshots [2016]
Fantastische, 16 Songs umfassende "Best of"-CD des grandiosen Texaners aus Abilene, den man ohne jeden Zweifel zu den ausdrucksstärksten, qualitativ am höchsten einzuschätzenden, besten Countrykünstlern des Lonestar States zählen muss. "Snapshots" enthält die wichtigsten und erfolgreichsten Songs aus Zane's bisherigen 5 Alben (und jedes dieser Alben ist stärker als das andere), sowie den brandneuen, bislang unveröffentlichten Track "Wine into water". Williams' Musik ist eine brillante Balance zwischen Traditional Country, Honky Tonk, Outlaw Country und jungem, modernem Texas Country und New Country mit einem Hauch von Americana und Red Dirt. Diese CD ist der perfekte Einstieg für all diejenigen, die diesen Mann mal antesten wollen oder den besten Überblick über seine bisherige Karriere auf einem Album haben möchte (nicht zu vergessen der brandneue Track). Hey, all ihr Countryfans, es lohnt sich wirklich. Hat man diesen Mann erst einmal entdeckt, kommt man von seiner großartigen Musik nicht mehr los. "Finest Texas Country" auf höchstem Niveau.

Die offizielle Produktbeschreibung im Original:

In April of 2015, as the applause died down and the Grand Ole Opry crowd fell silent, Ricky Skaggs put his arm around Zane Williams and said, "Son, you have a gift. Don't worry about the trends in this town. Keep writing the kind of songs you just sang, because people need to hear real music like that." It sure felt like a passing of the torch, and so far Zane has been using that torch to light a fire among fans of authentic country music. He's racked up four top-ten Texas radio hits (six if you count his songs "Ride With Me" and "While I Was Away," which were number one hits for Cody Johnson and Pat Green respectively). He was the big winner at the 2015 Texas Regional Radio Awards, taking home three awards, including the top prize for "Entertainer of the Year." Wide Open Country listed him at #2 on their list of "Rising Texas Country Artists You Need to Know," and the legions of Zaniacs who pack out his honky-tonk shows couldn't agree more. But if that all sounds like an "overnight success" story to you, then take a listen to Zane's tongue-in-cheek anthem by that title and you'll learn the deeper truth. Zane graduated college with a math degree-yes, a math degree-and moved to Nashville in 1999, where he spent nine years performing as a solo act and honing his songwriting skills. His first full-length album was a rootsy collection called Hurry Home in 2006. Disenchanted with the way mainstream country music was heading, Zane relocated to his home state of Texas in 2008 and released two more indie records that eventually established him as a top draw in the Dallas area (The Right Place in 2009 and Ride With Me in 2011). But it was his fourth record, 2013's aptly-titled Overnight Success, that garnered statewide attention and yielded his first Texas number one single "Little Too Late." His 2015 release, Texas Like That, included another chart-topper, "Jayton and Jill," and that album debuted at #8 on the Billboard Heatseekers chart. Despite all this success, Zane will tell you he feels like he is just hitting his stride. And he's picking up the pace in 2016, with a non-stop touring schedule and a compilation album called Snapshots to be released January 22nd. Snapshots will feature all his radio singles to date, selected cuts from the five previous albums, and a brand new song entitled "Wine Into Water." The sixteen tracks provide a perfect sampler of his artistry for new fans, and they showcase the masterful songwriting and singing that landed him last year in the renowned Grand Ole Opry circle.

Das komplette Tracklisting:

1. Here's To You - 3:15
2. Little Too Late - 4:37
3. Texas Like That - 4:22
4. Damned - 3:19
5. Wine Into Water - 3:53
6. Ride With Me - 3:20
7. Jayton and Jill - 3:33
8. Back Porch Band - 3:38
9. Hands of a Workin' Man - 3:52
10. She Is - 3:01
11. While I Was Away - 3:22
12. Overnight Success - 3:50
13. On A Good Day - 3:38
14. 87 Chevy 4 x 4 - 3:42
15. Pablo and Maria - 5:35
16. 99 Bottles - 4:08

Art-Nr.: 9085
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 15,90

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