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Brooks, Kix - new to this town [2012]
Brooks & Dunn sind Geschichte, doch nach Ronnie Dunn kommt nun auch die andere Häfte des erfolgreichsten Country-Duos aller Zeiten mit einem Solo-Album! "New to this town" heisst das hervorragend gelungene Werk, mit dem Kix Brooks eindrucksvoll offenbart, was er auch ohne seinen kongenialen Partner in der Lage zu leisten ist. 12 starke Nummern, zumeist sehr kraftvoll und knackig in Szene gesetzt (der Balladen-Anteil ist klar in der Minderzahl), zwischen traditionellen Anlagen und sehr abwechslungsreichem, zuweilen durchaus rockigem New Country. Gast, Slide-Gitarrist und Duett-Partner beim Titelstück ust übrigens Joe Walsh (The Eagles). Die Musik passt durchaus zur Philosophie, die auch Brooks & Dunn verkörperten, hat aber auch ihren eigenen Pep. Die Melodien sind prima! Gratulation an Kix Brooks zu diesem großartigen Album!

Wen es interessiert: Hier im Original eine sehr ausführliche, aktuelle Biographie mit der Geschichte zum neuen Album im Original-Wortlaut:

"Wish I was new to this town
Just pullin’ in checking it out for the first time”
— “New to This Town” by Kix Brooks, Marv Green and Terry McBride

It’s been more than 30 years since Kix Brooks was new to the town that he made his home, where he married, raised two children and built an accomplished career as a songwriter, singer and half of the most successful duo in country music history, a weekly national radio show host, magazine columnist, film producer, actor, winery owner and active and influential member of the music industry and community at large.

And yet here he is, picking up where he started when he really was new to this town, when his very first solo single in 1983 lumbered up the country chart to #73 before being hijacked by gravity into oblivion.

“New to This Town” is the title cut from the album that he hopes will reintroduce him to music fans, not exactly as a brand new man—to borrow a phrase from a song he co-wrote many moons ago—but as his own man, with his own songs to sing and his own unique story to tell.
Though the song is about a romantic relationship, metaphorically it suggests another interpretation. “When you’re starting out, there’s so much fear that if you screw up or put out the wrong record, you’ve lost that chance to live your dream. At this point in my career, there’s a different kind of uncertainty and risk that the people who have seen me perform for 20 years as half of Brooks & Dunn won’t be able to see me as anything but that. So in that sense, being new to town would be good to be able to do again.”

Kix Brooks’ career as a musician began long before he came to Nashville, which is less than 100 miles from where the Louisiana native was shipped off for high school at Tennessee’s Sewanee Military Academy. “I wasn’t bad, but I wasn’t good,” he confesses with a smile. “The discipline was good for me. It gave me structure and problem-solving skills, which are really helpful for creative people.”

Brooks grew up in a musical family, had his first guitar before he hit his teens, and while in Sewanee, he began playing coffee houses with his roommate, Nashville native Jody Williams. “Jody turned me on to the Opry,” expanding the range of country music that Brooks already loved. “I was a fan of bluegrass, rock and outlaw country, people like Willie, Cash and Roger Miller. I loved the Allman Brothers, Leon Russell, the Nitty Gritty Dirt Band, Asleep at the Wheel, Guy Clark, Jerry Jeff Walker. ”
After graduation, he went to Louisiana Tech, gaining a foundational education in reading music and the theory of composition while getting hands-on experience playing clubs around town. Realizing that he wasn’t cut out to be in the marching band, school choir, or orchestra—which were required for a music degree—he switched his major to speech and got into theater, both of which would later serve him well.

A brief sabbatical from school led him to Alaska in 1976, working for his dad, a pipeline contractor. The job was great seed money, he recalls, “So when I got home, I bought a new car, a new guitar, a bottle of whiskey, and I was ready to get back at it.

“I had a band and I did some solo stuff. I could bang on a guitar and open up for just about anybody playing clubs in Shreveport. My plan was to be somebody.”
But an invitation from his sister put “Plan A” on hold. “She called me out of the blue and asked if I would come to Maine and help her with a television production company. So I was doing radio and television production, commercials, and it was a great experience. But I was also playing clubs and was still drawn to that. I enjoyed advertising, I enjoyed Maine. But in my heart of hearts, I just wanted to play music.”

So he took off again for Louisiana but stopped in Nashville to visit with his old roommate Jody Williams. “We stayed up all night talking and playing music, and Jody tried to talk me into staying. He said I could make a living writing songs. I said, ‘A, you’re nuts, and B, I’m going to New Orleans to play music.’”
But as fun as it was, the pace—and the partying—began to take a toll. “I called Jody up and said, ‘Do you really think I could make a living writing songs?’ and he said, ‘Get your ass up here!’”

True to his word, Williams gave Brooks a place to crash and found him a job with a concert production company while arranging meetings for him with music publishers around town.

“Everybody was really nice for about half a song, and then I wrote some more songs and called them back, and everyone was always out to lunch. So I started breaking songs down and figuring out what these guys were doing, which doesn’t mean you can do it, but at least I did my homework and really started working harder at trying to figure out how to do it. I realized it was one thing to make people smile in bars and another thing to make a living as a songwriter in Nashville.”
His hard work paid off, and less than two years after pulling into town, Brooks had a publishing deal and a #1 cut. Some things didn’t pan out, like his first album in 1983 on a label that went defunct before the album was released and a 1989 album on Capitol that went nowhere fast.
But he was making a living—a good living—writing songs for Tree Publishing, where exec Paul Worley took some of his demos to veteran music man Tim DuBois, head of the Arista Nashville record label. DuBois suggested that Brooks write with the winner of a talent competition, a tall, big-voiced Texan named Ronnie Dunn. When DuBois heard their song demos, the rest became Brooks & Dunn history.

In their 20-year ride, the duo recorded 10 studio albums, released 50 singles, scored 23 #1 hits, sold more than 30 million albums, sold out tours from coast to coast and became one of the most awarded acts in country music history.

But in August of 2009, they revealed what had long been a topic between the partners themselves: that after a final tour and a final compilation album, Brooks & Dunn would be no more.

“It was always an arranged marriage that happened to work out really well and produce some great kids. But after 20 amazing, dream-like years, it was time.”
As for the notion of recording a solo album, Brooks took his time—or as much time as realistic for someone who owns a thriving winery, hosts a weekly syndicated radio show, forms a film production company, takes on roles in three movies and writes all but one of the songs for the soundtrack for the western To Kill a Memory, as well as co-writing the soundtrack for a Christmas movie.

“I have a lot of interests, and I wasn’t at that point thinking of what I would do next. I was kind of looking forward to chilling for a year or so. I wanted to take my time. I started writing during the last B&D tour, and when we got done, I kept writing while we were making movies.”
When the time felt right, Brooks approached his album with customary enthusiasm, producing and recording nearly 50 songs before beginning the challenging process of narrowing the field. “There were a few like [the Brooks/Leslie Satcher co-write] ‘Moonshine Road’ that I was sort of building the album around,” he says, “so you try to take the ones that fit the other songs the best, that fit you best, or where the track is just smoking.”

The result is a record that is emphatically and uniquely Kix Brooks—rocking, smoky, swampy and bluesy, with belts of bayou and hits of Cajun zydeco. Nine of the album’s dozen tracks bear Brooks’ name as a co-writer, collaborating with such longtime friends and writing luminaries as Bob DiPiero and David Lee Murphy (on the lyrically clever “Closin’ Time at Home”), Rhett Akins and Dallas Davidson (for the mid-tempo musical celebration of “Bring It on Home”), and Marv Green and Terry McBride on “New to This Town,” the title track single that almost didn’t make the album.

“We were kind of done with everything, I had recorded the album, and Jay DeMarcus and I were doing the soundtrack for a Christmas movie over at his house. But I was thinking about that song, so he was nice enough to help me produce it and let me use the pickers while we were working there. He really liked the song, so I said, ‘Let’s do it together.’”

Later, “The engineer from my radio show said, ‘You ought to get some Joe Walsh-sounding slide on that.’ I’m like, ‘Hmm, what if I could get Joe Walsh?’ My manager is partners with Irving Azoff, who sent it to Joe, and he called me up and put the slide on there for me. So that worked out great.”
In a new-to-this-town, full-circle touch, the album also features two songs that Brooks wrote with Rafe Van Hoy. With Deborah Allen, they penned Brooks’ first #1 as a songwriter (John Conlee’s ’83 chart-topper, “I’m Only in It for the Love”), and they pair here on the backsliding fun of “Complete 360” and team with Curly Putman on the groove-and-soul-filled, after-hours portrait of “my baby’s” “Tattoo.”

Now, with his album complete, Brooks is just looking forward to getting it into the hands of fans and resuming the solo career that began long ago when his entire plan “was to be somebody.”

“That fear I had at one point in my career where you’re scared to death to make the wrong move, I don’t feel that way now. But you still really want to do something that is relevant and makes people rock, and look out at a crowd and know you have connected, you’ve hit that nerve. I don’t think you ever get over that.”

(This biography was provided by the artist or their representative.)

Das komplette Tracklisting:

1. New to this Town - 4:20
2. Moonshine Road - 4:21
3. Bring It On Home - 3:44
4. There's the Sun - 3:05
5. Complete 360 - 3:16
6. My Baby - 2:55
7. Tattoo - 3:25
8. In the Right Place - 3:47
9. Next to That Woman - 3:21
10. Let's Do This Thing - 2:57
11. Closin' Time at Home - 3:37
12. She Knew I Was a Cowboy - 3:22

Art-Nr.: 7907
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 13,90

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Evans, Morgan - things that we drink to [2018]
Klasse U.S.-Debut des Australiers Morgan Evans, der drauf und dran ist in Nashville richtig Fuß zu fassen. Evans, in übrigen verheiratet mit der immens erfolgreichen Kelsea Ballerini, spielt eine überaus gefällige und voller Hitpotential steckende Mischung aus lockeren, gut zu verarbeitenden und sehr melodischen, mal dynamischen, mal langsameren Songs an der Schnittstelle zwischen New Country und Countrypop, die geradezu darauf warten die Charts zu stürmen. Enthält seinen ersten Nr.1-Hit, das flotte "Kiss somebody," und den neuen Hit "Day drunk". Natürlich darf auch ein Duett mit seiner Liebsten, Kelsea Ballerini, nicht fehlen ("Dance with me").

Hier ein Original U.K.-Review:

Morgan Evans captured the hearts of the UK when he released his lead single Kiss Somebody. With just a handful of songs out, Morgan has continued to build his UK fanbase with a couple of trips here including playing C2C Festival. Although we don’t often like to focus on an artists craft through their significant other, we can’t not mention Evan’s wife Kelsea Ballerini when she is so clearly the muse of most of his songs.
Morgan’s debut album Things That We Drink To starts with the song American, Evan’s seems to be describing his wife;
She’s got hair as gold as Kansas Wheat, her body moves like bourbon street in New Orleans, so wild and free She’s American, making my life better than it’s ever been.
American is a great start to the album and has that earlier Keith Urban style to it. This album is actually so much better than I thought it would be. With the title being Things That We Drink To I was somewhat afraid it was going to be a bunch of typical bro – country songs that sound just like all the other artists out there who sing about beer, trucks, dirt roads and women in little tight blue jeans or something. But this album has a lot more depth to it.
A lot of the songs are not just radio friendly but arena friendly and are definitely of the standard where you can imagine a huge arena concert and the music bouncing off the arena walls and everyone singing along.
Songs such as I Do are more mid tempo and in I Do’s case, is a love letter to his wife and well lets face it, us country fans are suckers for a real life country music love story.
Song for the Summer lost me a bit. I think it will prove popular amongst a lot of fans as has a great dance beat to it but it isn’t for me. It has an element of Sam Hunt in it and although I quite like Hunt, I just can’t seem to get into it.
Day Drunk which was another single is a great summer anthem song but again, neither here nor there for me sadly.
Kelsea Ballerini joins Morgan for Dance With Me for a stunning ballad. This is a gorgeous romantic country song as it should be. There is beauty in its simplicity and it isn’t over produced. The words are of course believable as they are true. Kelsea may not like love songs but Morgan clearly does and we are so glad about that or we wouldn’t have this song. I would be very surprised if this doesn’t get released as a single.
Me on You has a bit of an R&B element to it. It has a sweet guitar riff throughout and a nice beat to it. Although I am not keen on the clubby dance element to country music, this song can easily have that vibe but would also be amazing stripped back.
The title track Things That We Drink To, is thankfully not your typical drinking song but a breathtaking dedication to a friend of Morgans, his late manager who sadly passed. (More on that can be found here. ) This song has a strong anthem feel to it and its down tempo stylings are really quite infectious especially in the piano accompaniment. The emotion in Morgan’s vocals, lyrics and music is honest and quite deep. I like a song with meaning, a song where you can actually feel where the artist is coming from and what they a feeling on some level. The subject was obviously someone very dear to Morgan and the song is both happy and sad at the same time with the feeling of loss but also great memories and celebration of friendship. I think the songs music and words encompasses all of that and I would certainly drink to that.
We Dream is about those childhood dreams and childhood freedom. It is a good song but might be one that takes me a while. I sadly feel the same way about Everything Changes. Both aren’t bad tracks but may take a listen or two.
Young Again is a great song to close the album on. It has a Folk music way about it and is like an Irish drinking song and I enjoy those type of drinking songs as they feel a lot more happy and are the kind of songs that bring unity. I can see this song being one of those live songs that make people in the crowd all sway arm and arm whilst of course, raising glasses.
Overall this is a quality, celebratory album that certainly has that “Let’s raise our glasses” feel to it. Things That We Drink To has a lot of fun and thoroughly enjoyable songs.
There is a really bright future for Morgan Evans and he is definitely on his way up to being one of the big names and I am actually really excited about it. If he continues to deliver music similar to what he has now then I am more than happy for him to sit up there on the top of the charts. (Hnnah Jessica / Building Our Own Nashville)

Das komplette Tracklisting:

1. American - 3:03
2. Kiss Somebody - 3:33
3. I Do - 3:30
4. Song for the Summer - 3:32
5. Day Drunk - 3:14
6. Dance with Me (feat. Kelsea Ballerini) - 3:19
7. Me on You - 3:26
8. Things That We Drink To - 3:08
9. We Dream - 3:36
10. Everything Changes - 3:17
11. Young Again - 2:55

Art-Nr.: 9740
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 13,90

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Kelly, Kristen & the Modern Day Drifters - placekeeper [2010]
In der mit so vielen wunderbaren Interpreten reichhaltig bestückten, texanischen "Red Dirt"-Szene spielen, bis auf wenige Ausnahmen (z. B. Bonnie Bishop, Pauline Reese, Buster Jiggs), weibliche Künstler bislang eine eher untergeordente Rolle. Eigentlich nicht nachvollziehbar, denn an vielversprechenden Talenten mangelt es kaum. Ein herausragendes Beispiel dafür ist die nicht nur überaus attraktive, sondern auch musikalisch mit viel Charisma und Klasse auftrumpfende Singer/Songwriterin Kristen Kelly, die zusammen mit ihrer exzellenten Formation, den Modern Day Drifters, ein regelrechtes Genre-Prachtwerk abliefert. "Placekeeper", das bereits zweite Album der Truppe, strotzt nur so vor großartigen Songs. Die Musik, die uns die Band mit so viel Unbekümmertheit, Herz, Frische und handwerklicher Kompetenz präsentiert, kann, ja muss man sogar als eine Art "Country" bezeichnen, wenngleich die Grenzen der Countrymusic hier als weitestgehend offen in Richtung Rootsrock, Americana und Countryrock zu betrachten sind - ab und an zudem durchsetzt mit einem Hauch von Blues und Southern-Flair. Kristen Kelly startete ihre Karriere zunächst als Background-Sängerin für u. a. Brandon Jenkins und Stoney LaRue, mit denen zusammen sie den kultigen "Red Dirt"-Hit "Down in flames" komponierte. 2006 schließlich gründete sie die Modern Day Drifters, mit denen sie seitdem kreuz und quer durch die Honky Tonks und Roadhouses von Texas tourt. Als ihre bedeutendsten Einflüsse bezeichnet Kelly die große Emmylou Harris (countryseitig), Patty Griffin, Susan Tedeschi (bluesseitig), aber auch solch klassische Countryrock-Helden wie beispielsweise die Eagles. Das ist in ihrer Musik, bei aller Eigenständigkeit und auch dem typischen, wundervoll ursprünglichen "Red Dirt-Grit", sehr schön herauszuhören. Neben Kelly's klasse Gesang (ihre kraftvolle, vitale Stimme ist in etwa an der Schnittstelle Susan Tedeschi/Miranda Lambert angesiedelt) stützt sich der Sound der Modern Day Drifters hauptsächlich auf das prächtige Zusammenspiel der beiden Top-Gitarristen Derrick Dutton, der zur Band mit der Referenz einer lokal viel beachteten Blues-Vergangenheit stiess und die Truppe mehr in Richtung Goove-, Blues- und Soul-infizierten Countryrock lenkte, und Joshua Roberts, der nach einigen Jahren in der sehr erfolgreichen Jam-Band Willis Brownstone das nötige Southern-Feeling und viel zusätzliche Lockerheit einbrachte. Beide brillieren mit tollen Riffs, Licks und einigen bewundernswerten Soli. Zusammen mit der formadiblen Rhythmussektion, bestehend aus Brady Miller an den Drums and Jimmy Kinerd am Bass, ist die Band komplett - und alles passt hervorragend zusammen. Das, wie gesagt, ausnahmslos prächtige Songmaterial wird sehr knackig und beherzt dargeboten, erdig, würzig, durch und durch ehrlich, weit weg vom allzu glatten Glamour Nashville's. Und dennoch sind die Songs geprägt von unwiderstehlichen Melodien, die sich voller Wonne in unseren Ohren festsetzen. Dazu ist der Sound trotz seiner ursprünglichen Note sehr sauber, klar und transparent produziert. Songs wie der herrliche, schwungvolle, knackige Countryrocker "I remember when" (tolles Dobro-Spiel von Gast Tommy Detamore, klasse E-Gitarrensolo), der schmissige, dennoch sehr lockere, froh gelaute, traditionelle "Pure Country-/Honky Tonk-/Roadhouse"-Heuler "Hearts be blind" (wieder exzellente Gitarrenlinien mit vorzüglichem Solo), oder auch die überaus melodische, erneut schön knackige New Country-Nummer "Small town way" (wäre auch einer Miranda Lambert wie auf den Leib geschrieben) zeigen eindrucksvoll mit welchem Herzblut und mit welcher Klasse die Band am Werk ist. Drei herausragende Nummern seien aber noch besonders erwähnt. Zunächsr das phantastische "Angel dust", eine hinreissend lockere, melodische, von einem wunderbaren Allmans-like Southern-Feeling durchzogene, frische, flockige Americana-/Countryrock-Nummer (tolles ein wenig an Dickey Betts erinnerndes, flüssiges, southern-fried E-Gitarrenspiel), dann das etwas aus dem Rahmen fallende, dafür aber umso stärkere Titelstück "Placekeeper", ein die ganze Vielseitigkeit der Band demonstrierender, bärenstark inszenierter, kerniger, Slide-getränkter Texas-/Shuffle-Roots-Blues (Kelly singt den Blues mit einer ähnlichen Ausstrahlung wie Susan Tedeschi und Bonnie Raitt), und schließlich die super melodische, knackige, herzhafte, voller Faszination zwischen einem authentischen, wunderschönen Countryfeeling und erdigem, bluesigem Roots-/Southern-Charme hin und her pendelnde, rund 6 1/2-minütige Traum-Ballade "Total loss", die sowohl die Countryrock-Freunde, als uch die Southern-Fraktion und die Americana-Fans begeistern dürfte - zwei exquisite, wundervolle E-Gitarrensoli inklusive, das zweite mit der Slide-Gitarre. Kristen Kelly & the Modern Day Drifters begeistern mit einem Pracht-Album, das zu den absoluten Highlights des abgelaufenen Jahres in Sachen Roots-/Americana-/Country-/Countryrock gezählt werden muss. Vielleicht wird die Band der erste, von einer Frontfrau gesteuerte Act der "Red Dirt Texas Music-Scene to play the big stages with the big boys". Es wäre ihnen wirklich zu wünschen, denn das Potential dazu haben sie allemal. Ganz groß!

Das komplette Tracklisting:

1 I Remember When - 3:34   
2 Placekeeper - 3:57   
3 Angel Dust - 4:13   
4 Your Love I Couldn't Hold - 3:47   
5 Total Loss - 6:37   
6 Hearts Be Blind - 3:53   
7 Small Town Way - 3:44   
8 Lost in Yourself - 3:41   
9 Payments Are Due - 4:04   
10 Best of Me - 5:00

Art-Nr.: 7246
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 15,90

In folgende Titel können Sie reinhören:
I remember when
Placekeeper
Angel dust
Total loss
Hearts be blind
Small town way

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McKenna, Lori - the tree [2018]
Eine der am meisten respektierten und profiliertesten Singer-Songwriterinnen der Gegenwart beglückt uns erneut mit einem bestechend schönen, geradezu hinreißenden, neuen Album. Ihr voriges Werk, "The bird and the rifle" erhielt 3 Grammy-Nominierungen und heimste wahnsinnig viel Aufmerksamkeit bei der Americana Music Association ein. Außerdem schrieb sie im Jahre 2016 Geschichte, als sie als erste Frau überhaupt zum zweiten Mal hintereinander die Auszeichnung "Song auf the year" der amerikanischen Country Music Association gewann, und zwar für ihre Kompositionen von Little Big Town's "Girl crush" und Tim McGraw's "Humble and kind" Beide Songs waren dann auch noch bei den Grammys 2017 auf der Gewinnerlist. Ja, vor allem in der Countrywelt ist Lori McKenna als Songwriterin höchst etabliert. Aber was sie hier wieder an eigenem Material und eigener Musikalität abliefert, ist einfach faszinierend. "The tree" nimmt den Zuhörer mit auf eine von traumhafter Melodik geprägte Reise durch entspannte, manchmal etwas melancholische Gefilde, von sehr fein instrumentierter und abgestimmter Singer Songwriter-Kunst, veredelt in wunderbaren, semi-akustischen, meist sehr entspannten Full Band-Arrangements zwischen Americana, Roots, Folk und Country.Ihr Songwriting ist schlicht grandios und stellt sie längst auf eine Stufe mit Größen wie Patty Griffin, Mary Chapin Carpenter und Lucinda Williams. Exzellent produziert hat übrigens erneut der momentan allgegenwärtige "Guru" Dave Cobb (u.a. Chris Stapleton).11 absolute, neue Songperlen von Lori McKenna. Höchst beeindruckend, charismatisch und wunderschön!

Hier noch ein Original U.S.-Review:

It's difficult to know where to start when praising Lori McKenna's "The Tree." It's so good in so many ways. Artists like Little Big Town and Tim McGraw have benefited greatly from recording McKenna songs, yet it's unlikely many mainstream country music fans recognize her name. Fans of Miranda Lambert and Kacey Musgraves, two women that consistently and effectively write straight from the heart, would love McKenna's songs -- if only given the chance.
McKenna writes with incisive emotional intelligence, which is why "A Mother Never Rests," a song praising mothers, deftly avoids anything resembling cliché or simplistic sentimentality. Lines like, "She only sits for a minute/She's a hummingbird in the living room," paint an accurate picture that trumps any Hallmark card. McKenna closes with "Like Patsy Would," which finds her aiming to "sing it like Patsy (Cline) would." And to prove her point, she writes and performs a few songs that Cline would have been proud to sing, and she sings them just like a broken-hearted Cline. "You Won't Even Know I'm Gone," sung over a simple, finger-picked arrangement, is an underappreciated woman's goodbye note. It's as heartfelt and tragic as "By the Time I Get to Phoenix." "You Can't Break A Woman" also details a bad relationship, only in the case, the woman has decided to stick it out and stay. "Whiskey breath don't faze her anymore," she concedes.
Two of the centerpiece songs concern aging. "People Get Old" grapples with the mystery of aging. "If we live long enough, the people we love get old," McKenna muses. This is track is followed by "Young and Angry Again," a song that longs for youthful days of irresponsibility. Country radio is oversaturated with songs about high school glory days, but McKenna reaches for feelings far deeper than mere memories of high school sweethearts; she wants to recapture an elusive mindset only found in the young.
The title track meditates on identity. As much as we like to think of ourselves as dynamic and ever-changing, the saying "The apple never falls far from the tree" oftentimes proves too true. No matter how far we may think we've strayed from our roots, we're sometimes more like that stable and unmovable tree than we'd like to believe. We rarely move too far away from the house that built us.
Lori McKenna's "The Tree" can be likened to a long and meaningful evening with a dear friend, where the conversation delves deeply into the most significant issues in life. Sometimes it hurts. Sometimes it heals, but it's always never less than unavoidably engaging.
(Dan MacIntosh / Country Standard Time)

Das komplette Tracklisting:

1. A Mother Never Rests - 2:45
2. The Fixer - 3:28
3. People Get Old - 3:42
4. Young and Angry Again - 3:37
5. The Tree - 3:23
6. You Won't Even Know I'm Gone - 2:17
7. Happy People - 3:26
8. You Can't Break a Woman - 3:13
9. The Lot Behind St. Mary's - 3:30
10. The Way Back Home - 3:02
11. Like Patsy Would - 2:58

Art-Nr.: 9655
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
A mother never rests
The fixer
Young and angry again
The tree
Happy people
You can't break a woman
Like Patsy would

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Skaggs, Ricky and Sharon White - hearts like ours [2014]
Welch ein wunderschönes Country-Album. Ricky Skaggs und seine Frau Sharon White präsentieren uns mit mit ihrem gemeinsamen Werk "Hearts like ours" eine Reise in das Reich der "handgemachten", klassischen, zeitlosen, traditionellen Countrymusic, frei von jeglichen Einflüssen des Pop oder irgendwelchen modernen Strömungen des Mainstreams, dafür geprägt von Ehrlichkeit, Würde und herausragender Musikalität. Das Album, nahezu frei von Bluegrass-Elementen (lediglich die Coverversion der alten J. Geils Band-Nummer "No doubt about it" kommt in einem dynamischen, grassigen Gewand), erinnert stark an die früheren Arbeiten von Skaggs, zu Zeiten von "Waitin' for the sun to shine", "Don't cheat in our hometown" und "Highways & heartaches" in der ersten Achtziger-Hälfte, sowie an das Material von The Whites. Akustische Gitarren, Pedal Steel, Fiddle, Telecaster E-Gitarren, hier und da mal eine Mandoline, lockeres Drumming und der exzellente Gesang von Ricky und Sharon bestimmen das Geschehen in Verbindung mit einfach herrlichen Melodien. "Hearts like ours" ist purer, edler Country-Genuss!

Hier noch die offizielle Produktbeschreibung im Original-Wortlaut:
The multiple GRAMMY, CMA and Dove Award winners are married both on stage and off in this tender work that they have waited their whole professional careers to craft in perfect harmony together. Skaggs & White previously won a CMA (Country Music Assoc.) Award for Vocal Duo of the Year and are poised for lightning to strike again with this new album, Hearts Like Ours.
Country fans will rejoice in hearing Forever s Not Long Enough, co-written by Hall of Fame songwriter Bob DiPiero. In this up-tempo tune, Skaggs is back on his red telecaster electric guitar, putting down amazing licks and his signature clear, strong vocals along with tight harmony by White. In Reasons To Hang On, a new song co-written by Leslie Satcher, hit-maker for George Strait, Vince Gill and Reba McEntire, one finds a simple country faith that s really anything but simple, driven by mandolin and guitar to make a full country sound. A soothing steel intro opens When I m Good And Gone, co-written with heartfelt sincerity by country music artist Buddy Jewell after his father s passing. The tune If I Needed You special to Skaggs & White, sung to each other on their wedding day, showcases true love along with Hearts Like Ours, written by another country couple, Marty Stuart and Connie Smith. With throwback sounds for today s country audience, fans will appreciate the mix of mandolin, fiddle, steel, guitars and drums, bringing the best sounds of yesterday and today together. Hearts Like Ours captures a modern take on a classic country feel and is destined to be a highlight in country music this year.

Das komplette Tracklisting:

1. I Run To You - 3.53
2. Love Can't Ever Get Better Than This - 3.35
3. When I'm Good And Gone - 3.11
4. Forever's Not Long Enough - 3.07
5. If I Needed You - 3.52
6. I Was Meant To Love You - 3.28
7. It Takes Three - 2.50
8. Reasons To Hang On - 3.47
9. Hold On Tight (Let It Go) - 3.01
10. No Doubt About It - 2.42
11. Home Is Wherever You Are - 3.51
12. Hearts Like Ours - 3.58
13. Be Kind - 6.09

Art-Nr.: 8727
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 15,90

In folgende Titel können Sie reinhören:
I run to you
Love can't even get better than this
Forever's not long enough
If I needed you
It takes three
Hold on tight (let it go)
Home is wherever you are

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Stuart, Marty - compadres: an anthology of duets [2007]
Neue, höchst interessante und überaus gelungene Compilation von Marty Stuart, der in seiner langen Karriere auf eine Vielzahl von großartigen Duetten zurückblicken kann. Es kommen mehrere Punkte zusammen, die diese "Anthology of Duets" so empfehlenswwert machen: 1.) Einige der Songs erschienen nie auf regulären Alben von Marty Stuart, sondern auf den Werken der Duett-Beteiligten, Benefit- oder Tribute-Alben, 2.) Es handelt sich zum Teil um durchaus rares Material und 3.) es gibt zwei wirklich prächtige, bislang gänzlich unveröffentlichte Stücke! Stuart war es einfach ein Bedürfnis seinen vielen Fans diese großartigen Duette einmal in kompakter Form näher zu bringen. Marty Stuart galt ja in jungen Jahren als eine Art "Wunderkind des Country und Bluegrass", der schon als 13-jähriger die Mandoline in der Band des großen Lester Flatt bediente. Aus dieser Zeit beispielsweise, genauer gesagt aus dem Jahre 1974, enthält das Album eine seltene Live-Aufnahme des Bill Monroe-Klassikers "Rawhide"! Andere Höhepunkte sind das feurige Remake von Johnny Cash's "Doin' my time"aus dessen "Sun Recordings"-Tagen, das Marty Stuart 1992 mit dem "Man In Black" neu aufnahm, die mit Steve Earle eingespielte Buddy Holly-Nummer "Crying, waiting, hoping" aus dem längst gestrichenen 1996iger "Notfadeaway"-Album, das wunderbare "One woman man", zusammen mit George Jones aus den 1994iger "Bradley Barn Sessions", das mit Gattin Connie Smith aufgenommene "Hearts like ours", oder das mit Blues-Legende B.B.King eingespielte "Confessin' the Blues" vom 1997iger "Deuces wild"-Werk! Herausragend aber auch die beiden bislang unveröffentlichten, neuen Duette: Das ist zum einen der zusammen mit der großen Loretta Lynn vorgetragene Dallas Frazier-Klassiker "Will you visit me on Sunday", ein Steelguitar-getränkter, wunderbarer, purer Honky Tonk-/Traditional Country-Song, und zum anderen eine, zusammen mit der ungemein angesagten Alternate Bluegrass-Band "Old Crow Medicine Show" eingespielte, überschwengliche Coverversion des alten "The Who"-Hits "I can see for miles" in einer prächtigen, dynamischen, genauso rootsigen wie modernen, Drums-unterstützten Bluegrass-Fassung, die viel Flair von Original rüberkommen lässt, aber auch ein tolles Acoustic guitar-/Mandolin-/Fiddle-driven Countryfeeling hat. Große Klasse! 14 exquisite, edle Duette eines der vielseitigsten Countrykünstler der letzten Jahre mit etlichen seiner "Heroes", Weggefährten und Gleichgsinnten! Tolles Album im feinen Digipack mit 20-seitigem Booklet!

Hier noch einmal die komplette Tracklist mit den jeweiligen "Compadres" (Duettpartnern):

1.Farmer's Blues (mit Merle Haggard) - 3:21
2.Doin' My Time (mit Johnny Cash) - 3:24
3.Rawhide (mit Lester Flatt and Nashville Grass) - 3:34
4.The Whiskey Ain't Workin' (mit Travis Tritt) - 2:41
5.Will You Visit Me on Sunday (mit Loretty Lynn) - 3:40   
6.Crying, Waiting, Hoping (mit Steve Earle) - 3:53
7.Mr. John Henry, The Steel Driving Man (mit Earl Scruggs) - 1:58   
8.Hearts Like Ours (mit Connie Smith) - 3:39
9.The Weight (mit The Staple Singers) - 3:36
10.One Woman Man (mit George Jones) - 2:36   
11.Confessin' the Blues (mit B. B. King) - 4:32
12.I Can See for Miles (mit Old Crow Medicine Show) - 4:16
13.Let Us Travel, Travel On (mit Del McCoury) - 2:17
14.Move Along Train (mit Mavis Staples - 3:42

Art-Nr.: 4991
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 13,90

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Uncle Lucius - the light [2015]
Die fantastischen Uncle Lucius aus dem texanischen Austin mit 12 neuen Stücken ihres hingebungsvollen Gebräus aus Southern Rock-Flair, erdigem Rootsrock, ein wenig Soul, Blues, R & B, einem Hauch von 60's Psychedelic, Wüstenrock- und Countryrock-Anlagen, sowie dieser ungezwungenen Spielfreude. Würzig, rau, scharf! Die Spuren reichen von The Band über The Band Of Heathens bis zu den Counting Crows und von den Drive-By Truckers über Little Feat bis zu The Black Crowes. Baumstarke Band mit einem prächtigen Album!

Aus der Original-Produktbeschreibung:

Whether they move minds or bodies, Uncle Lucius is out to make music that can lift our spirits. And rock our souls. Though Austin roots band Uncle Lucius has worn a Southern rock tag for most of it's 10-year existence, the band's fourth studio album, The Light, charts a course designed to convey just how vast that musical territory really is. The Light dips into regions where blues, R&B, jazz, soul, country and gospel took form, mapping a sound that captures the true meaning of Americana. Containing songwriting contributions from all four band members, The Light also seeks to illuminate a different landscape: the sometimes-rocky terrain of our hearts and minds. Tracked at Austin's Treefort Studios with producer George Reiff, these 12 songs deliver what guitarist Mike Carpenter, a Houston native, likes to call 'Southern rock for the thinking man. Rock 'n' roll for the soul.' Lead singer, Kevin Galloway, admits his ultimate goal is to turn musical energy into a catalyst for humanity's evolution. This is music with depth, made by men given to truth seeking on levels both existential and literal.

Das komplette Tracklisting:

1. The Light - 3.02
2. Age of Reason - 3.44
3. Taking in the View - 6.10
4. Ourboros - 3.09
5. End of 118 - 3.27
6. No Time Flat - 4.03
7. Wheel's in Motion - 4.46
8. Gulf Coast Gypsies - 3.11
9. Flood Then Fade Away - 3.33
10. Don't Own The Right - 3.19
11. Nothing to Save - 5.15
12. Someday is a Far Cry - 4.24

Art-Nr.: 8881
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
The light
Age of reason
Taking in the view
The end of 118
No time flat
Gulf coast gypsies
Flood then fade away

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