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Alvin, Dave & Jimmie Dale Gilmore - downey to lubbock [2018]
Zwei "alte" Haudegen und Pioniere der amerikanischen Roots-Szene tun sich zusammen und liefern ein geradezu brillantes Album ab. Der aus Downey in Californien stammende ex-Blasters-Veteran Dave Alvin und der in Lubbock/Texas beheimatete Roots-/Country-/Folk-/Singer-Songwriter Jimmie Dale Gilmore nehmen uns auf "Downey to Lubbock" mit auf eine wundervolle, ja mitreißende, packende Reise durch musikalisch faszinierende Landschaften von Roots, Blues, Rock, Americana und Alternate Country. Voller Leidenschaft, Biß und mit ungemein viel Gefühl, Seele und Authentizität repräsentieren sie ihre Heimat, Herkunft und musikalischen Einflüsse und Ideologien in 12 herausragenden, sehr abwechslungsreich und dennoch herrlich straight gestalteten und arrangierten Tracks. Zwei davon sind neu von ihnen komponierte, eigene Stücke, der Rest sind wunderbar um-arrangierte Coverversionen alter, beeindruckender Klassiker, die sie in ihrem musikalischen Werdegang auf irgendeine Art und Weise begleitet haben. Was die Beiden (Alvin spielt neben dem Lead Gesang noch bravourös akustische und elektrische Gitarre mit fulminanten Soli, Gilmore überzeugt neben der zweiten Lead-Stimme mit akustischer Gitarre und Mundharmonika) und ihre exzellenten Begleitmusiker (u.a. Skip Edwards - keyboards; Nick Forster - guitars, lap steel, mandolin; David J.Carpenter - bass; Don Heffington - drums und einige mehr) hier abliefern, ist die höchste Roots-, Blues-, Americana-, Rock-Schule. Los geht's mit dem genialen Titelstück "Downey to Lubbock", einem grandiosen, prächtig nach vorn gehenden, herrlich rootsigen, erdigen, "burning harp- and guitar-centered" Bluesrocker, in dem die beiden (sie teilen sich hier, wie auch bei einigen anderen Tracks, den Lead Gesang auf), textlich großartig verpackt, ihre musikalische Geschichte erzählen. Alvin besticht mit famoser Lead Gitarren-Arbeit (tolles Solo) und Gilmore mit nicht minder starkem Mundharmonika-Spiel. Die Nummer, die im übrigen auch toll auf Alvin's "Eleven Eleven"-Album gepasst hätte, hat einen klasse Drive. Welch ein Aufrakt! Es folgt eine saustarke Coverversion von Steve Young's "Silverlake", vorgetragen in einem ganz dezent mexikanisch angehauchten, leicht bluesigen, wundervollen, staubigen Americana-Gewand. Die großartige Begleitung aus vielschichtigen akustischen und elektrischen Gitarren, sowie unaufdringlicher Orgel und ebenso unaufdringlichem Akkordeon passt einfach super. Leicht und locker "galoppieren" die Zwei im Anschluß daran durch die herrliche, mit schöner Mandoline und klasse E-Gitarre inszenierte, lockere John Stewart-Nummer "July, you're a woman". Das ist rootsige, staubige Americana-Musik vom Allerfeinsten. Fantastisch auch das tierische, dezent akustisch beginnende, dann aber mächtig brodelnde, mit furiosen E-Gitarrenläufen und "rattenscharfen" Sax-Einlagen (Jeff Turner) gespickte Blues-Cover von Lightnin' Hopkins' "Buddy Brown's Blues", die hinreißend schöne, melodische, flockige "Mexican-flavoured" Countryrock-Version von Chris Gaffney's "The gardens", die tolle Version des alten 60iger Dino Valenti-/Youngbloods-Klassikers "Get together", das gewaltig rockende "Lawdy Miss Clawdy", wie auch die traumhaft melodische Americana-Nummer "Billy The Kid and Geronimo" - alles Höhepunkte eines von vorn bis hinten packenden Werkes. Dave Alvin und Jimmie Dale Gilmore mit einer herausragenden, ja überragenden Vorstellung, Ein absolutes Ausrufezeichen in Sachen Rootsmusik für das Jahr 2018! Kommt im übrigen in einem sehr schön gestalteten Digipack mit 24-seitigem, reich bebilderten und informativem Booklet.

Hier noch ein Original U.S.-Review:

You don’t need to know the backstory to this meeting of the minds of Dave Alvin and Jimmie Dale Gilmore, two of Americana’s most respected journeyman roots rockers. That’s because they do the work for you on the opening title track to this partnership where they trade vocals explaining their careers and somewhat unlikely collaboration on this disc’s only co-write.
Ex-Blaster Alvin hails from Downey, California, and ex-Flatlander Gilmore calls Lubbock, Texas home. The two are a decade removed in age but found common ground in their love of Americana music, specifically the blues, rock and roll, R&B, and folk acts that played LA’s famous Ash Grove club which they both frequented. These guys are road-hardened troubadours who know the once-endless highway is going to soon end but are determined to keep the faith. They do that beautifully on this studio alliance.
Alvin’s flinty baritone and Gilmore’s high lonesome, windswept style wouldn’t seem to be a natural combination. But even though there aren’t honeyed Everly Brothers-styled harmonies here, the contrast in their voices makes for a surprisingly riveting blend. They generally switch lead vocals, which also provides a window into which one brought the song - and all but two are covers - to the table.
Alvin pays tribute to late buddy Chris Gaffney by performing his bittersweet Tex-Mex ballad “The Gardens” (one of two tracks that also features legendary West Coast songwriter Van Dyke Parks on accordion) and Gilmore does the same for Steve Young in his warbling cover of the sweet memories on “Silverlake.” But it’s the classic rockers like Lloyd Price’s New Orleans stomper “Lawdy Miss Clawdy” and Brownie McGhee’s gospel-laced closing “Walk On” where the duo really finds their footing. Alvin’s distinctive lead electric guitar snakes through these tracks, bringing high voltage rollicking authority to Lightning Hopkins’ “Buddy Brown’s Blues” and the traditional swamp folk of “K.C. Moan.”
A cover of the Dino Valenti by way of the Youngbloods ’60s “smile on your brother/ love one another” anthem “Get Together” is as pertinent today as it was 50 years ago - perhaps more so - and this version with Gilmore’s trembling voice and Alvin’s taut guitar solo raises the temperature making it feel even more incisive. The California bred singer-songwriter’s lone new solo writing contribution, “Billy the Kid and Geronimo,” tells the fictional tale of a meeting between these two American fugitives, allowing both singers to trade verses based on the characters’ narratives, as they elicit sympathy for their violent lives.
A full band backs the twosome and while this might seem like an unusual pairing on paper, the result is an alternatively sweet, touching, rousing and undeniably heartfelt set that plays to both artist’s strengths while pushing each slightly outside their comfort zone. Hopefully, there will be a follow-up to further expand on this success that brings out the best in both Alvin and Gilmore and seems to just scratch the surface of their deep Americana pedigrees. (Hal Horowitz/American Songwriter)

Das komplette Tracklisting:

1. Downey to Lubbock - 5:49
2. Silverlake - 5:02
3. Stealin' Stealin' - 2:58
4. July, You're a Woman - 3:53
5. Buddy Brown's Blues - 3:51
6. The Gardens - 3:56
7. Get Together - 3:59
8. K.C. Moan - 5:12
9. Lawdy Miss Clawdy - 2:38
10. Billy the Kid and Geronimo - 4:45
11. Deportee - Plane Wreck at Los Gatos - 4:52
12. Walk On - 5:50

Art-Nr.: 9634
Gruppe: Musik || Sparte: Rock
Status: Angebot || Typ: CD || Preis: € 9,90

In folgende Titel können Sie reinhören:
Downey to Lubbock
Silverlake
July, you're a woman
Buddy Brown's Blues
The gardens
Lawdy Miss Clawdy
Billy the Kid and Geronimo

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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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Sugarland - love on the inside ~ deluxe fan edition [2008]
Deluxe Fan-Edition mit 5 Bonustracks! Erfrischend , lebendig, wunderbar! Sugarland (Jennifer Nettles und Kristian Bush) setzen auch mit ihrem von den Fans heiß herbeigesehnten dritten Album konsequent ihren musikalisch eingeschlagenenWeg fort und werden dabei immer besser! Nettles' Stimme war nie kraftvoller, variabler und stärker, Bush's Harmonies, sein Acoustic Gitarren- und Mandolinenspiel waren nie vielfältiger. Dieses Duo ist mit seinem durchaus in Traditionen verwurzelten, aber so modernen, knackigen, dabei alles andere als glamourösen, sondern stets erdigen, exakt auf den Punkt produzierten New Contry-/Country-Rockpop-Sound eine wahre Wohltat für Nashville! Das Album erscheint in den USA in zwei Ausgaben, einer "normalen" Version mit 12 neuen Tracks und einer sogenannten "Deluxe Fan-Edition" mit 5 zusätzlichen Bonustracks! Darüber hinaus kommt die Deluxe-Ausgabe in einer speziellen, edlen Digipack-Verpackung inklusive eines alle Texte und viele Fotos enthaltenden, 20-seitigen Booklets und der Zugangsmöglichkeit zu exklusivem Video-Material. Also, keine Frage: Die "aufgemotzte" Ausgabe ist definitiv die, die es sich lohnt zu kaufen - und deshalb bieten wir auch ausschließlich diese an! Insgesamt ist das Songmaterial im Vergleich zu den beiden mega-erfolgreichen Vorgängern vielleicht etwas "verhaltener" ausgefallen. Will heißen: Der Anteil an Balladen hat im Vergleich zu den Uptempo-Nummern leicht zugenommen. Dennoch strotzt auch dieses Album vor Dynamik und Energie - und das Songmaterial ist einfach nur klasse! Ohne Ausnahme! Toll beispielsweise der froh gelaunte Opener "All I want to do" (gleichzeitig die erste Single und bereits auf dem besten Wege die nächste Nr. 1 des Duos zu werden), mit seinen kernigen Slide Gitarren-Licks (großartig: Gitarren-As Michael Landau), dem trockenen Ambiente und dem wundervollen "Ooh hu hu hu hu"-Mitsing-Refrain, der knackige, sehr melodische Uptempo Rockin' Country-Shuffle/-Boogie "It happens", der traumhafte, einfach herrlich ins Ohr gehende Country-Stomper "We run" mit seinen vitalen Acoustic Gitarren-Rhythmen, dem knackigen Drumming und großartigen Akkordeon-Spiel, die exzellente, leicht folkig angehauchte, einmal mehr wundervoll melodische, Mandolinen-getränkte Country-Ballde "Genevieve", das entspannte "Already gone", der satte, rockige, ungemein melodische Knaller "Take me as I am", das rootsige, viel Americana-Feeling aufbauende, von schöner Slide, Steelguitar und einem klasse Traditional Country-Rhythmus bestimmte "Steve Earle" (einer Huldigung der beiden an die große Roots-/Alternate Country-Ikone), und die wunderschöne, getragene, ruhige, kristallklar in Szene gesetzte, reine Country-Ballade "Very last country song" - eine traumhafte Nummer! Die fünf, auf der Fan-Edition zusätzlich enthaltenen Songs (3 weitere neue Studio-Tracks und 2 bärenstarke, bislang auch nicht als Studioversion existierende Live-Nummern) reihen sich nahtlos an den hohen Qualitätsstandard der übrigen Stücke an und sind somit für den geneigten Sugarland- und New Country-Fan ebenso unverzichtbar! Erwähnenswert hier besonders die brillante Live-Fassung des Achtziger Jahre-/Dream Academy-Klassikers "Life in a northern town", das am 13. Dezember 2007 in Fayettevill/North Carolina während der gemeinsamen US-Tour von Sugarland mit Little Big Town und Jake Owen mitgeschnitten wurde, die sich auch alle gesanglich an dieser tollen Intepretation beteiligten. Sugarland sind und bleiben mit "Love on the inside" (vielleicht sogar ihr ausgereiftestes, bestes Album) eines der absoluten Zugpferde Nashvilles in Sachen knackigem, modernem, qualitativ gochwertigem New Country, inklusive "eingebauter" Hit- und Chart-Garantie! Ein tolles Album - und darüber hinaus mit über 71 Minuten Spielzeit ein wirklich prall gefüll

Ganz interessant: Ein offizieller Sugaland "Song by Song"-Überblick (im Original):

"All I Want To Do"
The duo’s intent here was to have a lot of swing to the lead single of this album. To funk it up a bit, and keep it very hooky. Musically, this number’s somewhere between Bonnie Raitt and Jack Johnson, with some Marvin Gaye and Van Halen thrown in. "I love the flirty sound," says Jennifer Nettles. "We just always want to bring different energies, and we got to play on the lighter side this time." If you listen close, the easy percussion from Matt Chamberlain gives the song its sexy heartbeat.

"It Happens"
Sometimes, you just gotta let go. That’s what this gritty little tune’s all about, says the duo. "We always say we should take the music seriously, but not ourselves," Nettles says. When the guitar comes in at the top, you know this is going to be a little more 80s pop than down-home country. Think "Walking on Sunshine". Because this tune wraps it all up with some very advisable lyrics: "Let go, laughing". And Nettles thinks the ironies, like getting in a fender bender with your ex and his new girl, shows listeners what a grand sense of humor the universe has. It’s a very uptempo way to look at a world that’s out of your control.

"We Run"
New love. Young love. Green love. There’s an excitement to that experience that Sugarland has captured in this intoxicating bluegrassy rocker. Nettles admits this grew from a seed of an idea that Bush had, since he grew up playing mountain music in Tennessee. And this song lends itself to that Appalachian sound, that driving four-on-the-floor beat. You can’t really describe that feeling, so the duo chose to show it rather than tell it. The imagery--of pockets of dirt and reckless weather on the breath--convey how beautiful, messy and powerful love can be.

"Joey"
Teenage love doesn’t always have a happy ending. Especially when a tear-jerker like Bill Anderson has pen in hand. He helped Nettles and Bush craft this modern take on the traditional teen tragedy, and yet much more alternative influences went into the vocals. "We ended up with a haunting wail in the chorus and this R.E.M. background vocal," says Bush of the melancholy music. "It’s simple and dark." The rich texture of this song is built around all those "what ifs" that run through your mind as you explore regret. "Nothing mitigates loss," says Nettles "But everyone has regrets, so we can all relate."

"Love"
Nettles’ powerhouse pipes take center stage in this ballad. And that strength comes though in the form of questions, about how you can possibly define love. Is it the face of a child? Kindness in the eyes of a stranger? In a hotel room in Washington D.C., when Sugarland was chasing down the theme of the whole album, the topic of love came up. "No way could you ever narrow it down," Nettles says of their writing time with Tim Owens ("Settlin’"). There’s love lost, love found, new and old loves. So this tune gets right in the middle, and makes some reaches musically. Bush’s powerful voice is featured for the second half of this song. "When we were writing the back half, Jen said ‘I want you to sing these words I wrote just for you,’" recalls Bush. "I will always feel special singing those words."

"Genevieve"
Nettles said that Bush had the whole first verse worked out. That verse--and his pure, sweet mandolin work--were inspiring enough. But when the idea for some three-part harmony came up, it only made this dirge of a country heartache even better. Nettles says it reminded her of some of the southern Baptist hymns she grew up on, and likes that the story’s not clear cut. "It’s a beautiful thing when we get to play characters that are complicated." There’s a mystery of who this character is that is coping with such a dramatic loss. It’s a little twisted. But that creates an even stronger pull into the lyrics.

"Already Gone"
A waltz-time lope? On a country album? Writing with Bobby Pinson ("Want To"), the duo was determined to do a song in six-eight. And to keep it very personal. "This is the story of coming of age, literally and emotionally," says Nettles. And it’s such a healing tale, about a woman who is growing up, leaving home, falling in love and saying goodbye.

"Keep You"
Is it possible to write an emotional song about being numb? It’s like writing a song about being loud by being quiet, Nettles and Bush think. That irony, blended with a bittersweet epiphany of knowing it’s time to walk away, make this one of the most contemporary done-me-wrong songs of our time. "Subtlety and nuance make all the difference in this song. Painting emotions with broad strokes is easy, but this time we’re using a toothbrush to dig through the finer emotions," says Nettles, comparing the duo to archeologists. And the vocal range she plays with throughout keep this song on the edgier side, because of the way she explodes into huge notes that few singers can even attempt.

"Take Me As I Am"
When the curtain opens, there’s a woman in a hotel room at night. As the song unravels, so does the mystery of why she’s there. In this character-driven narrative, with a Pat Benatar influence and some solid electric guitar work, the empowering message is clear. When you reach that point, when you are comfortable in your own skin, the line about "I’m not perfect, but I’m worth it" makes all the sense in the world. This could very well be the anthem of the unsung heroes who walk among us every day. "This is a very grown-up place to get to in your life," Nettles explains.

"What I’d Give"
Written with Kenny Chesney’s long-time lead guitarist Clayton Mitchell, this one builds a lingering story around some Faces era guitar and mandolin stylings. The kind that Sugarland thinks make for a story of their own. Usually in country, the song ends when the bow is tied off neatly with a lyric. But after the last lyric ends, they still had more to say musically. Nettles vocals are sultrier than they’ve ever been, and she likes the romantic implications of the lyrics. And both she and Bush agree that if you aren’t making out halfway into this six-minute yearning, then you aren’t ever going to be.

"Steve Earle"
If you know anything about Steve Earle, this song will thrill you with its comic pining for his songwriting. If you don’t know him, it’ll certainly pique your curiosity. Both Nettles and Bush share a fondness for Earle’s brand of country. It taught them that country was still viable, and gave them confidence to reimagine the sound. And when the duo found out what a shameless romantic Earle was, they had to set all his comings and goings to music. This upbeat barn burner fueled by a big pedal steel, is a playful way to process a painful subject. Nettles looks at it this way: "There comes a point in life of a troubadour when the character can become heroic. Even legendary."

"Very Last Country Song"
Aptly named, the last song on the album is a look at what would happen if nothing ever went wrong again. "If life stayed the way it was, if those conditions weren’t in our lives, then this would literally be the last country song," says Nettles. Everything is as it should be was the impetus and inspiration behind this song. Co-writer Tim Owens told the duo that someone had once asked him why country music was always so sad. Owens’ answer was that if bad things never happened, then what would we have to write about? The ethereal tones underneath this song stay quiet enough so the insight into the human condition can be felt. Like when you can hear Nettles smile as she sings the verse that looks back on the unexpected joy of an unexpected child.

Plus 5 Bonus-Tacks:

Fall Into Me 4:46
Operation: Working Vacation 3:59
Wishing 4:11
Life In A Northern Town (Live) 4:14
Come On Get Higher (Live)

Art-Nr.: 5848
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 18,90

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Tucker, Tanya - live from the troubadour [2020]
Ihr letztjähriges, fantastisches Album "While I'm livin'" bedeutete nach 17 Jahren Pause eine geradezu triumphale Rückkehr der charismatischen Tanya Tucker ins Rampenlicht der Countrymusic, gekrönt mit dem Gewinn des Grammy-Awards 2019 für das beste Countryalbum des Jahres. Ebenso triumphal war der Auftritt der aus Seminole/Texas stammenden Ikone und ihrer großartigen Band knapp 2 Monate nach der Veröffentlichung von "While I'm livin'", am 16. Oktober 2019, im legendären, gerade mal 500 Zuhörer fassenden, restlos ausverkauften Nachtclub "The Troubadour" am Santa Monica Boulevard von West Hollywood/CA, den sie an diesem Abend mit ihrem faszinierenden Auftritt in ihr "Wohnzimmer" verwandelte. Die Intimität der Show ist jederzeit spürbar, die Stimmung ist fantastisch - und Tanya und ihre Band liefern eine wahre Glanzleistung ab. Sie wirkt frisch wie selten zuvor, ist in brillanter Form. All das bringt dieses famose Live-Album von diesem Abend in exzellenter Klangqualität beeindruckend rüber. Wir hören eine exquisite Mischung großer Hits ihrer gesamten Karriere, wie beispielsweise "Strong Enough To Bend", "What's Your Mama's Name", "Would You Lay with Me (In a Field of Stone)" und natürlich "Delta Dawn" - alle in wundervollen, zeitgemäßen Versionen, aber auch insgesamt 6 Lieder ihres 2019er "Grammy-winning Country Album Of The Year", wie etwa "Mustang Ridge", das hinreissende "The Wheels of Laredo", "Hard Luck" und "High Ridin' Heroes". Ein zusätzlicher Höhepunkt ist ein toll "gestricktes" Medley aus den Coverversionen von Bruce Springsteen's "I'm on fire" und Johnny Cash's unverwüstlichem "Ring of fire". "Live from the Troubadour" ist ein grandios gelungenes, gut 60-minütiges Live-Dokument einer sich in bestechender Verfassung präsentierenden Tanya Tucker, die wohl nie besser war.

Die komplette Setlist:

1. Would You Lay With Me (In A Field Of Stone) - 3:03
2. Jamestown Ferry - 3:04
3. What’s Your Mama’s Name, Child - 3:06
4. Blood Red And Goin’ Down - 3:41
5. Strong Enough To Bend - 3:29
6. I’m On Fire / Ring Of Fire (Medley) - 3:50
7. Mustang Ridge - 3:49
8. The Wheels Of Laredo - 4:03
9. I Don’t Owe You Anything - 3:44
10. High Ridin’ Heroes - 3:28
11. Hard Luck - 3:37
12. Interlude - 0:46
13. Bring My Flowers Now - 4:14
14. Texas (When I Die) - 5:07
15. It’s A Little Too Late - 6:20
16. Delta Dawn - 6:05

Art-Nr.: 10187
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 15,90

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Turnpike Troubadours - a long way from your heart [2017]
Wow, sie machen einfach dort weiter, wo sie mit ihren vergangenen Alben aufgehört haben. Auch das neue Album der wunderbaren Turnpike Troubadours aus Oklahoma ist wieder ein absoluter Volltreffer! Sie haben sich fest als eines der absoluten Aushängeschilder der im Bereich Texas und Oklahoma beheimateten Red Dirt-Szene entwickelt. Voller Spielfreude, Frische und Esprit präsentieren sie erneut eine herrliche Mischung aus Americana, Rootsrock, ein paar folkigen Elementen und viel Country/Countryrock. Sie sind bekannt für ihre exzellenten Live-Performances, bringen diese Vitalität, Variabilität, Spontanität und Spielfreude aber auch entsprechend hochklassig in ihren Studioalben zum Ausdruck. "A long way from your heart" besticht mit famosem Songmaterial, abwechslungsreich und instrumentell hervorragend umgesetzt, eingebettet in fabelhafte Melodien. Die Balance zwischen Eingängigkeit und einer unbekümmerten, leicht erdigen Natürlichkeit stimmt zu 100%. Schon die erste Nummer "The housefire" ist ein Knüller. Dieser leicht folkig angehauchte Roots-/Americana-/Red Dirt-Rocker kommt in einem wunderbar entspannten, aber auch knackigen Midtempo daher. Sehr stark dabei die großartige Melodie, sowie die aus Harmonika, Fiddle, akustischen und elektrischen Gitarren (tolles E-Gitarren-Solo am Ende) bestehende Instrumentierung. Ein prächtiger Auftakt! Und es folgen jede Menge weiterer Highlights, wie etwa der ordentlich nach vorn gehende, dezent grassig angehauchte Folk-/Western-/Countryrocker "The winding Stair Mountain Blues" mit seinem feinen, hintergründigen "Ghost riders in the sky"-Flair (klasse Pedal Steel, Banjo und E-Gitarren-Einsätze, inkl. schöner Soli), das dynamische, mit starkem E-Gitarren- und Fiddle-Solo garnierte"A tornado warning", der ganz feine, hoch melodische Countryrocker "Pay no rent", getränkt in einer tollen Pedal Steel- und Fiddle-Begleitung, das flotte, knackige "The hard way", die geniale, von einem schönen Outlaw-Flair begleitete Countrymummer "Pipe bomb dream" (tolle Bariton E-Gitarren, Pedal Steel, herrliche Saloon-Fiddle), oder der wunderbare Red Dirt-Countryrock-Stampfer "Oklahoma stars". Das Album ist ein absoluter "Hit"! Red Dirt-Countryrock, irgendwo zwischen Reckless Kelly und Jason Boland & The Stragglers, der absoluten Extraklasse. Die Turnpike Troubadours setzen ihren Höhenflug gekonnt fort!

Hier noch ein Original U.S.-Review:

here’s no single method to achieve success as an Americana band, but the appropriately named Turnpike Troubadours have figured it out from the beginning because it’s in their name; sing honest, heartfelt, sincere songs and take them on the road.
Of course, it’s not that easy.
You need quality tunes, a talented band to bring them to life and a gifted singer to connect those dots. Through three previous albums and a decade of tireless road work, that’s the blueprint Oklahoma’s Turnpike Troubadours have perfected. It helps to feature a terrific singer-songwriter in primary tunesmith/lead vocalist Evan Felker, although there’s little else that jumps out about the five piece’s sound. Strummy acoustic guitar-led tracks, supported by folk/country/rock backing could apply to thousands of similarly styled Americana outfits. It’s how this one massages the formula that makes them one of the finest on the scene.
It starts with the songs. Felker’s small town sensibility, unforced melodies and voice that may seem ordinary but grabs you with its subtle authenticity, nails 11 originals that exude natural charm and intrinsic integrity. From the protagonist watching his home burn down who knows he can “live on so much less” to the simple joy of recollecting lying in the grass with an old flame under “Oklahoma Stars” and a prisoner reflecting on lessons learned in “Pipe Bomb Dream,” Felker makes the listener a fly on the wall in the scenes of his characters.
Musically, the group coalesces around these songs with understated rootsy twang featuring just enough fiddle, accordion and especially Hank Early’s nimble pedal steel to bring out their inherent country. The music’s not raw enough to be considered outlaw but it’s melodic, sharply arranged and driven by passion.
That balance makes the Turnpike Troubadours both one of Americana’s preeminent purveyors and this album arguably their most accomplished set to date. (Hal Horowitz)

Das komplette Tracklisting:

1. The Housefire - 3:39
2. Something to Hold on To - 4:46
3. The Winding Stair Mountain Blues - 3:27
4. Unrung - 3:07
5. A Tornado Warning - 3:43
6. Pay No Rent - 4:01
7. The Hard Way - 2:53
8. Old Time Feeling (Like Before) - 3:17
9. Pipe Bomb Dream - 3:20
10. Oklahoma Stars - 3:13
11. Sunday Morning Paper - 4:10

Art-Nr.: 9525
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
The housefire
The winding Stair Maountain Blues
A tornado warning
Pay no rent
The hard way
Pipe bomb dream
Oklahoma stars

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