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Cagle, Chris - my life's been a country song [2008]
Chris Cagle zählt zu den New Country-Interpreten, die mittlerweile seit vielen Jahren mit konstant guten Leistungen und einer stetig wachsenden Fan-Basis ihren Status als Major-Kontraktinhaber wahren konnten. Selbst das Tal, das er mit einigen privaten Turbolenzen und auch gesundheitlichen (Stimm)Problemen zu durchschreiten hatte, wurde mit dem guten 2005er-Album "Anywhere But Here" ohne spürbare Qualitätsverluste gemeistert. Nun legt er jetzt mit "My Life’s Been A Country Song" seinen nunmehr vierten Silberling vor, und auch der weiß wieder voll zu überzeugen. Vom musikalischen Stil her ist eigentlich, wie bei den erfolgreichen Vorgängern, alles beim Alten geblieben (warum auch nicht!). Dennoch fallen einige markante Punkte auf, die dann doch ein wenig überraschen: Zum einen wurde Cagle's Langzeitproduzent Robert Wright durch seinen Spezi und Förderer aus frühen Virgin-Tagen, Scott Hendricks, ausgewechselt, zum anderen hat sich die Musikermannschaft bis auf ganz wenige Ausnahmen komplett verändert und auch auf Kompositionen aus der eigenen Feder (zusammen mit seinem etatmäßigen Co-Writer Monty Powell) wurde diesmal komplett verzichtet. Trotzdem hat Capitol Records dafür mit Tom Bukovac, Kenny Greenberg, Troy Lancaster, Jonathan Yudkin, Greg Morrow, Jimmie Lee Sloas, B. James Lowry, Mike Johnson, Eric Darken und Gordon Mote, sowie diversen einschlägig bekannten Backgroundsängern und -sängerinnen ein Musiker-Starensemble aufgenoten, das seines Gleichen sucht. Auch mit den Nashville-Paradeschreibern wie u.a. Brett James, Dave Berg, Craig Wiseman, Neil Thrasher, Tom Shapiro, George Teren, Monty Criswell wurde mal wieder "an nichts gespart". Diese Qualität spürt man natürlich über die gesamte Distanz des Werkes. Die CD startet mit der ausgekoppelten Single "What Kinda Gone" (schön rockig), die mit geflügelten Worten recht humorvoll und auch musikalisch recht frech, flott und spritzig dargeboten wird. Sie ist bereits mit stetigem Aufwärtstrend in Richtung Top-Ten der Billboard-Charts unterwegs. Nach dem im relaxten Sprechgesang dargebotenen, luftigen !No Love Songs" folgt mit "Never Ever Gone" ein erster Kracher, bei dem Chris in bewährt dynamischer Manier schön knackig aus sich herausgeht (auf einer Ebene mit Top-Nummern wie "Country By The Grace Of God", "The Chicks Dig It" oder "Hey Ya’ll"). Das Stück stammt übrigens aus der Feder von Andy Childs und Steve Mandile, Mitglieder einer in den Staaten mit viel Lob überschütteten Band namens Sixwire. Toller southern-infizierter Countryrock vom Feinsten. Im weiteren Verlauf bietet der wie eh und je smart und cool wirkende Cagle dann den bewährten Mix aus sehr melodischen New Country-Songs, wobei das Pendel mal in Richtung Ballade ("I Don’t Wanna Live", "Keep Me From Loving You") oder auch konträr in knackiges Midtempo ("If It Isn’t One Thing", "Little Sundress") ausschlägt. Auffallend ist die gute E-Gitarren-Arbeit der beteiligten Gitarristen. Fast in jedem Stück wird neben toller Rhythmus- und Fill-Arbeit ein auf den Punkt gebrachtes, kleines Solo eingestreut. Gegen Ende gibt es dann mit "My Heart Move On" noch einen satten "Stampfer" mit ganz dezentem Tex-Mex-Flair. Beim Titelsong schließlich wird sehr tief in die "emotionale Klamottenkiste" gegriffen: Ein Stück voller country-typischer Begriffe, Zitate, Songtitel und Klischees, trotzdem wunderbar instrumentiert und von einem Cagle in Bestform dargeboten. Eines der absoluten Höhepunkte des Albums! Zum Abschluss serviert der Texaner dann mit "Change Me" noch eine sehr modern strukturierte Power-Ballade, wie man sie beispielsweise auch von Rascal Flatts her kennt. Fazit. Chris Cagle weiß auch mit "My Life’s Been A Countrysong" wieder auf die bewährte Art und Weise voll und ganz zu überzeugen. Wo Cagle drauf steht, ist auch Cagle drin. Mit seinem vierten Album wird er sich unter den Ton angebenden Namen wie Tim McGraw, Kenny Chesney & Co. weiter etablieren. New-Country-Stoff in Top-Qualität! (Daniel Daus)

Art-Nr.: 5492
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 12,90

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Castiglia, Albert - wild and free ~ live [2020]
Florida's Bluesrock "guitarslinger" Albert Castiglia bläst mit seinem neuen Live-Album "Wild and free" voll zur (Gitarren)Attacke. Er und seine großartige Band (Justine Tompkins - bass, Ephraim Lowell - drums, Lewis Stephens - keyboards) , sowie die Gäste Mike Zito (Gitarre bei 1 Track) und Allman Betts Band-Keyboarder John Ginty an der Orgel (bei 2 Tracks) lassen das "Funky Biscuit", einen Club in Boca Raton/Florida, wo das Album bei 2 Konzerten am 3. und 4. Januar 2020 mitgeschnitten wurde, in seinen Grundmauern erbeben. Die Setlist und die Songs sind cool und die Performance ist einfach richtig "hot". Castiglia, der einst als Sideman der Chicagoer Blueslegende Junior Wells die Bühne des Blues erklomm, ist in blendender Form und zeigt hier mühelos, was er für ein fantastischer "Gitarrenhexer" ist. Er gehört zu jener Zunft von Gitarristen, deren immenses Potential erst live vollends zur Geltung kommt. Der mächtig brodelnde Opener "Let the big dog eat" startet gleich, noch bevor Castiglia die ersten Worte singt, mit einem fulminanten, gewaltigen Gitarrensolo des Meisters, das sowohl die Musiker als auch das Publikum binnen kürzester Zeit auf eine amtliche Betriebstemperatur bringt. Der Anfang ist gemacht und für die folgenden, rund 72 1/2 Minuten geben die Musiker einfach alles, was sie aus sich rausholen können. "No way to slow down" - auch nicht bei den balladeskeren Songs. Als zweite Nummer steht die Mike Zito-Komposition "Hoodoo on me" auf dem Programm, ein treibender Volldampf-Bluesrocker, bei dem die Band das Gaspedal erneut bis zum Anschlag durchdrückt. Castiglia verbiegt die Saiten seines Instruments in den wilden, ausgedehnten Soli nach allen Regeln der Kunst. Es jault, quietscht, zwirbelt und rockt "absolutely wild and free". Ungemein stark und "on fire" präsentiert die Band dann die prächtige, aus Castiglia's letztem Studioalbum "Masterpiece" stammende Bluesrock-Ballade "Heavy", in einer über 9 1/2 Minuten andauernden Version, vollgepackt mit endlosen, jammigen, furiosen, aber auch schön differenzierten Gitarrenläufen. Das folgende, sumpfige, Slide-getränkte, temporeiche "Get your ass in the van" fühlt sich, im besten Sinne, zuweilen an, als sei ein über-stimulierter Elmore James am Werk. Großartig auch die Coverversionen von Johnny Winter's "Too much seconal" (an der zweiten Gitarre hier Mike Zito, der im übrigen das Album auch produzierte, und an der Orgel Allman Betts Band-Keyboarder John Ginty mit herausragendem Orgelspiel, inkl. tollem Solo), sowie von Paul Butterfield's "Lovin' cup" (irre Gitarrenausflüge, und abermals ein tolles Orgelsolo von Ginty). Das ist "bare-knuckle blues at its best". "Wild and free" ist ein Live-Album im besten Sinne des Albumtitels, bei dem Albert Castiglia und seine Band alles an Energie einbringen, was sie drauf haben. "Every inch of 'Wild and Free' is a stone gas for guitar fans", heißt es dazu in einem U.S.-Review. Dem ist nichts hinzuzufügen. Gitarren Bluesrock-Dynamik ohne Kompromisse! Von diesem furiosen "guitarslinger" wird man künftig sicher noch viel hören.

Das komplette Tracklisting:

1. Let the Big Dog Eat - 4:24
2. Hoodoo on Me - 4:10
3. I Been up All Night - 5:41
4. Heavy - 9:43
5. Get Your Ass in the Van - 4:20
6. Searching the Desert for the Blues - 5:52
7. Keep on Swinging - 6:20
8. Too Much Seconal - 8:10
9. Loving Cup - 8:28
10. I Tried to Tell Ya - 6:31
11. Boogie Funk - 8:26

Art-Nr.: 10030
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
Let the big dog eat
Hoodoo on me
Heavy
Get your ass in the van
Too much seconal
Lovin' cup
I tried to tell ya

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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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McEntire, Reba - keep on loving you [2009]
Reba's neue... - und es ist wieder ein prima Album geworden. Reba McEntire ist eine großartige Künstlerin, die es problemlos versteht, sich den Gegebenheiten des modernen Nashville's anzupassen, ohne auch nur im geringsten ihre Wurzeln zu leugnen. Genau das ist ihr hier bestens gelungen. So ist "Keep on loving you" ein modernes, überwiegend schön knackiges, kraftvolles Country-/New Country-/Contemporary Country-Album geworden, das typisch Reba ist, und eindrucksvoll offenbart, dass die Diva in Nashville's Gegenwart angekommen ist. Klasse!

Reba hat zu jedem einzelnen Stück des neuen Albums ein paar Gedanken und Statements preis gegeben, die wir nachstehend im Originaltext weitergeben:

1. "Strange" (Wendell Mobley, Jason Sellers, Neil Thrasher)
"I liked the way it has a lot of different melodies to it. It has great range, but the main reason I like it is because it's so sassy. I love the attitude of it. It's totally different, but it reminds me of the attitudes of `Can't Even Get the Blues.' I seem to have success with sassy attitude songs. This song is about a woman who has been left behind from her partner or boyfriend, and she is trying to feel sad, but it's just not working, so she's going on with her life. It's a strong woman song."

2. "Just When I Thought I'd Stopped Loving You" (Mark Nesler, Rivers Rutherford)
"This is the song that Rivers Rutherford wrote with Mark Nesler. I loved the beat and the melody. It reminded me of a Rascal Flatts song in the first part of it. It's really catchy. It's a song that I'd be singing the middle of the night when I woke up, so I knew it would be a great song when it is in your subconscious like that. I would say this is the least powerful woman song, because she is like, `Oh, I can't give in and take you back one more time, I can't,' but then she does. I hate to say it's a booty call song, but it does remind me of that. I guess this is my booty call song!"

3. "I Keep On Lovin' You" (Ronnie Dunn, Terry McBride)
"We were in the studio recording with Tony Brown, and Tony had said they were just finishing up some of the Brooks & Dunn songs. He said, `You ought to listen to this one song. I just love the song. I think it is wonderful. I think it can relate to a couple who have been together for a short time or a long time, but basically a long time. We've been through the highs and lows and ups and downs, we've fought and gotten back together, but no matter what we go through, I'm going to keep on loving you. I think it's an anniversary song."

4. "I Want a Cowboy" (Katrina Elam, Wayne Kirkpatrick, Jimmie Lee Sloas)
"Katrina Elam co-wrote this song. I am a huge fan of Katrina Elam. She is one of the best singers I've ever heard. I asked Tony to ask Katrina if I could cut `I Want a Cowboy.' She came in and sang some of the harmony on it too. It's a great kick-ass song that is good attitude. And I'm a cowgirl; I've rodeoed 10 years and I'm a third-generation rodeo brat, so I thought it was just perfect."

5. "Consider Me Gone" (Steve Diamond, Marv Green)
"It's a strong woman song. I'm sure there are tons of women who get the cold shoulder when the husband comes in from work. He's had a rough day and she's had three kids at home, especially if it's summer. He doesn't want to talk, something's going on and it's confrontation time. If you are giving me the cold shoulder, if you're not wanting to talk to me, and if things aren't getting any better and if I don't turn you on, consider me gone. Here's the way the cow eats the cabbage. It's like, let's poop or get off the pot. Tell it like it is. It's a pretty cool song and it's confrontation time. That is one thing that is wrong with relationships, that there's not enough communication."

6. "But Why" (Jason Sellers, Neil Thrasher)
"I love the melody. It's one of those love songs that I usually don't record. It's also a strong woman song: `I can do this by myself, but why would I want to when I can share it with you?' It's a real sweet love song. It's a very soft song."

7. "Pink Guitar" (Ed Hill, Jamie O'Neal, Shaye Smith)
"This is just a kick-ass fun song. I can see lots of little girls going, `Yeah, I want to play guitar.' When I was growing up, guitars were for boys; that was the men's instrument, especially an electric guitar. Girls could play an acoustic guitar. I remember the girl who played on one of the awards shows with Carrie Underwood. She got out there and played her butt off. That was when I found `Pink Guitar.' I said, `She's going to love this song.' I love the attitude of it. It's still country; it's almost like `Fancy.' This girl had this dream and she went on to survive and succeed. It's real cute and I love to sing it."

8. "She's Turning 50 Today" (Liz Hengber, Tommy Lee James, Reba McEntire)
"It's a song about a woman who found out that her husband left on Saturday for a woman who is half her age. She spent the day lying in bed, but then on Monday got up, loaded up her pickup truck and began a new chapter of her life. She went on with her life and didn't look back. I wrote the first two lines of `She's Turning 50 Today' and sent it to Liz Hengber. I said, `Why don't you work on this a little bit and email me back what you've got?' Two years went by, and I said, `Liz, what about that song?' She said, `Tommy Lee James and I are going to work on it. So by the time this album came around to start recording, they sent me an MP3 of it while I was in the studio. I rewrote the second verse to make it more personal and relate to me when I left Stringtown, Oklahoma, in 1987. So in a way it's about me leaving a relationship, but it was certainly years ago, but put the two together."

9. "Eight Crazy Hours (In the Story of Love)" (Leslie Satcher, Darrell Scott) "This is a song I was on the fence about because it was so deep that I just didn't know how to take it. And so I let Autumn McEntire Sizemore, my niece, listen to it. She started crying and said, `You've got to record this song.' I let more people listen to it and they were like, `Oh my gosh!' It didn't hit me as hard as it did a lot of other people. I guess I haven't had to get away. I think my music is my release. Whenever I am menopausal or whatever, I can release things in my music when I sing. That is my therapy. It touched so many people that I recorded it. When I sang it live it choked me up so much that I couldn't get through it. This woman has a meltdown and she is just putting sheets on the bed and winds up in a bunch of dirty clothes on the floor, crying her eyes out. She checks into a cheap motel and lets it all out, crying in the bathtub. It was just as simple as picking up the kids and she's back in life again. She just needed to go away and take time for herself. Eight hours later, they're sitting around table eating chicken and laughing. It's eight crazy hours and the story of love."

10. "Nothing To Lose" (Kim Fox)
"Nothing to Lose" was on Melonie Cannon's album. When I was working with (Melonie's father) Buddy Cannon years ago, he gave it to me. I love Melonie's voice. `Nothing to Lose' was one of those songs that I said, `Man, if I could ever record that...,' so I did. I told everybody, `I want to feature the band on this,' so we let the band play two or three times. Everybody had an instrumental. It's about a woman leaving on the bus going down to Georgia. She doesn't know where she's going and doesn't know what lies ahead, but she doesn't care. It's another strong woman song."

11. "Over You" (Michael Dulaney, Steven Dale Jones, Jason Sellers)
"Whew! That is a sad song, kind of like Anne Steele. It's a beautiful melody. (My husband) Narvel said he loved this song. He would play the demo over and over. It's just one of those about `I knew the day would come when we would see each other again. You look great and got on with your life, but I'm still not over you.' It's really sad."

12. "Maggie Creek Road" (Karen Rochelle, James Slater)
"We were in the studio and I was having trouble with my resonance; I wasn't getting my soft voice at all. During lunch I saw Dr. Richard Quisling, my throat doctor in Nashville, and he opened up my sinuses or resonances or something. I came back to the studio and started singing again and Tony Brown's mouth dropped open, `My gosh, what did he do to you?' `He lasered out a little infection.' I put Dr. Quisling on my album thanks-yous. He is just a miracle worker. I had been on the fence about this song, but Tony really wanted me to record it. While I was coming back in, I said, `Let's do `Maggie Creek Road' next,' and he said, `Yes!' It's about this woman who has a daughter that is almost déjà vu for this mother. The little girl is leaving with evidently an older man on a date. This is what happened to the mother 20 years ago. She isn't going to let history repeat itself, so she follows them. They are parked down by the river and she opens the door and takes care of the situation. As the song says, `You don't want to see Mama go to war.' Mama was protecting her daughter. It's one of those swampy Louisiana songs with that feel."

13. "I'll Have What She's Having" (Jimmy Melton, Georgia Middleman)
"This is a cute song. I loved it the first time I heard it. They had horns on it and I said, `Of course we'll change it to fiddle and steel guitar.' It's real sassy. A woman is walking into a bar and she's looking for a man. She sees a woman having a good time, dancing with a man. `I'll have what she's having... and by the way, that looks hot.' We'll have fun with it onstage."

Das komplette Tracklisting:

1 Strange - 3:00   
2 Just When I Thought I'd Stopped Loving You - 3:50   
3 I Keep on Lovin' You - 3:13   
4 I Want a Cowboy - 3:39   
5 Consider Me Gone - 3:38   
6 But Why - 3:28   
7 Pink Guitar - 2:53   
8 She's Turning 50 Today - 4:05   
9 Eight Crazy Hours (In the Story of Love) - 4:04   
10 Nothing to Lose - 4:47   
11 Over You - 3:56   
12 Maggie Creek Road - 4:50   
13 I'll Have What She's Having - 2:59

Art-Nr.: 6516
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 16,90

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Noe, Ian - between the country [2019]
Wundervoll! HInreißendes Debut-Album des jungen Singer-Songwriters Ian Noe aus dem kleinen Örtchen Beattyville im U.S.-Bundesstaat Kentucky, bei dem nicht nur die Experten, sondern auch die Fans des Genres ins Schwärmen geraten. Von Meister-Produzent Dave Cobb (u. a. Jason Isbell, Chris Stapleton) brilliant in Szene gesetzt, gelingt Noe eine Anzahl von faszinierenden Songs zwischen Country, Countryrock, Roots, Americana, Storyteller-Mentalität und natürlichen Folk-Elementen, in denen er großartige Geschichten zu erzählen hat, die er dabei mit seinen exzellenten Begleitmusikern in ganz feinen Melodien einbindet. Manchmal fühlt man sich an die alten Byrds erinnert, dann an den großen John Prine, in einigen folkigen Momenten an den frühen Bob Dylan (nur gesanglich ist Noe deutlich schöner, nicht so "spröde"), aber auch an den bereits erwähnten Chris Stapleton oder den momentan sehr aufstrebenden und im Rampenlicht stehenden Tyler Childers. Trotz all dieser genannten Bezüge hat Noe ein ganz eigenes Profil, eine völlig eigene, musikalische Identität. Herrlich beispielsweise der traumhafte, countryrockige Ohrwurm "Irene (Ravin' bomb) mit tollen Background Vocals von Savannah Conley", das flockige, in einem feinen Retro-Ambiente inszenierte, von wunderbaren Byrds-mässigen Gitarren umgebene, traumhaft melodische "Barbara's song", oder die faszinierend schöne Outlaw-Ballade "Letter to Madeline". Bei diesem Album gibt es nicht die Spur einer Schwachstelle. Ein geradezu meisteliches Debut! Ein Americana-Highlight des Jahres! "A star on the rise"!

Hier ein Original U.S.-Review:

Ian Noe’s new album Between the Country is a masterful piece of work. Every lyric, phrase of the guitar, and every bit of emotionally delivered line is quite simply, perfect. If one had the ability to plan one’s career from 30 years down the road, this would be the first album that you’d make to start off a lifetime of songwriting.
The album was recorded in Nashville’s RCA Studio A with producer Dave Cobb whose work with the likes of Sturgill Simpson, Chris Stapleton, and Jason Isbell, to name a few, has either earned him nominations or won him AMA, Grammy, or Music Row awards in a variety of categories. Dave also plays guitar on the album that additionally features Adam Gardner on bass and organ piano, Chris Powell on drums and percussion, and Savannah Conley, who absolutely adds gold on back up vocals to each song she appears on. It will be out on the Thirty Tigers label and rounds out a great combination of musicians and record label to push Ian into the next level of his musical career, which I believe this masterpiece will do.
In the same way Norman Rockwell used his paintbrush to create his 1942 painting of the perfect family diner, Ian paints a similar, modern image with his songwriting for “Irene”. I’m hesitant to call it the dysfunctional version of Rockwell’s “Freedon from Want” because Ian’s version seems more like the new traditional family. Many of the themes Ian uses may be prevalent in his home state of Kentucky, but even in rural Iowa, we all share similar experiences and struggles.
“Barbera’s Song” sounds like it could have been pulled from a b side of a Byrd’s album with lyrics written on the porch of Big Pink in Woodstock. It’s the only song on the album that strikes me as different from the rest but, wonderfully done. It tells the story of a 1904 train crash that puts you right inside the tragic wreck but with an infectious melody that you just can’t get out of your head.
Much is spotlighted about Ian’s inclusion of the rampant drug problems that reach into every corner of the country, but his ability to reach into the humanity of the drug issue is striking. In “Junk Town” he narrates from the inside as the “Meth Head” that struggles to “keep away those cold sweat fears” while realizing “…I wish I was leaving to find another fate, and all the while knowing where I’ll die.”
“Meth Head” takes a harder outside narrative approach, and may be using those same characters from “Junk Town”, to tell the story from a different approach. It paints the epidemic like a zombie movie with lines like “you can’t kill her she’s already dead” and the third verse that says “It’ll be dark pretty soon. They love to lurk by the moon. So I’m out back shoveling the dirt. I’m gonna dig me a hole as deep as I can go. And when they fall, I’m gonna cover em up.”
Ian does a fantastic job of switching his narrative from modern lyrics and settings to the frontier, gun fights, fighting against the elements, and nods at true love. It’s as earthly and real as a diary lifted from a covered stage coach while maintaining the relevancy of the local news. For a guy on the cusp of 30 trips around the sun, Ian has a gift for writing, and an ability to paint a picture that lands him among any of the songwriting legends that you may want to compare him with.
“Letter to Madeline”, “Loving You,” the title track “Between the Country,” and the powerful “Dead on the River (Rolling Down)” are deliberately paced and somber while “That Kind of Life” and “If Today Doesn’t Do Me In” have a slight up tempo, positive, feel. Ian’s style of writing and delivery make it difficult to explain because the sincerity of each line, no matter the subject of the song, touch you and haunt you long after the last notes are played. I can only suggest that you grab it and settle in to realize that there was music before Between the Country, but, how much of it you go back to after hearing these 10 tracks may surprise you. (Jeremy Glazier / Americana Highways)

Ein paar mehr Infos und Soundfiles folgen in Kürze!

Das komplette Tracklisting:

1. Irene (Ravin' Bomb) - 3:58
2. Barbara's Song - 3:25
3. Junk Town - 4:21
4. Letter to Madeline - 4:29
5. Loving You - 2:17
6. That Kind of Life - 3:20
7. Dead on the River (Rolling Down) - 5:06
8. If Today Doesn't Do Me In - 3:57
9. Meth Head - 4:11
10. Between the Country - 2:39

Art-Nr.: 9835
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 15,90

In folgende Titel können Sie reinhören:
Irene (ravin' bomb)
Barbara's song
Junk town
Letter to Madeline
This kind of life
Meth head
Between the country

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