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Bluhm, Tim - sorta surviving [2019]
Außergewöhlich starkes, hinreißend schönes, mit durchweg großartigen Songs bestücktes Retro Countryalbum von Tim Bluhm. Bluhm ist Mitbegründer, Kopf und Frontmann der kultigen, in San Fancisco ansässigen, sowohl in der Rootsrock-, als auch in der Jamrock-Szene hoch geschätzten The Mother Hips, die mit ihrer fluffigen Bay Area Rock-Brise eher näher dem Terrain von Grateful Dead oder Buffalo Springfield angesiedelt sind, als dem der Countrymusic. Doch Bluhm ist auch ein beinharter Country-Fan. Als The Mother Hips vor rund 25 Jahren ihr Debutalbum für Rick Rubin's "American"-Label einspielten, hatte dieses Label gerade Johnny Cash's erstes, von Rick Rubin produziertes, in den berühmten Cash Cabin Studios von Hendersonville/TN aufgenommenes "Amerivcan Recordings"-Album herausgebracht. Zu dieser Zeit entdeckte Bluhm auch Merle Haggard's Musik für sich und befand sich darüber hinaus in regem, fachmännischem Austausch mit Johnny Cash, für den The Mother Hips schließlich als Opener im Fillmore von San Francisco auftraten. Jetzt, nach all den Jahren, hat sich Bluhm seinen großen Traum erfüllt und dieses bärenstarke Countryalbum eingespielt, und das ebenfalls in den legendären Cash Cabin Studios von Hendersonville, übrigens auch mit zwei alten Johnny Cash-Sidemen an Bord, nämlich Dave Roe am Bass und Gene Chrisman an den Drums. Weitere hochkarätige Mitstreiter sind Jesse Aycock (Hard Working Americans) an der Gitarre, Jason Crosby (Dave Matthews, Eric Clapton) an den Keyboards und der Fiddle, Doug Jernigan an der Pedal Steel und Elizabeth Cook wit prächtigem Background Gesang. Ja, Instrumente wie Piano (wundervolles Saloon- und Honky Tonk-Piano), herrliche Pedal Steel Guitar und feine elektrisch und akustische Gitarren, im Einklang mit Bluhm's für diese Musik wie geschaffene, hervorragende Stimme, und vollendeten Songharmonien, bestimmen das Geschehen. Obwohl in Tennessee eingespielt, so fließt durch diese Countrysongs doch eine wunderbare, californische Leichtigkeit. Alles klingt total entspannt, locker und kommt in einem hinreißenden Retro Hippie-Flair. Enthält neben Bluhm's fantastischen Eigenkompositionen auch großartige Coverversionen von Jonny Cash's "I still miss someone" und Merle Haggard's "Kern river". Purer Retro-Country, vollkommen authentisch und ohne Schnörkel, aus einer Zeit, die längst vergessen schien. Toll! Produziert hat übrigens Widespread Panic's Dave Schools - und das vom Allerfeinsten. Ein absolutes, reines Genre Pracht-Werk!

Aus der Original-Produktbeschreibung:

For a moment, you could almost forget what year it was inside the Cash Cabin, the small sanctuary-turned-recording-studio Johnny Cash built roughly 40 years ago in Hendersonville, TN. The Man In Black's frequent collaborators Dave Roe and Gene Chrisman were back at the bass and drums respectively, and tape was rolling as they counted in the Cash classic "I Still Miss Someone." Tim Bluhm had to pinch himself. "Recording in that space with those guys was like a dream come true for me," says Bluhm. "The depth of knowledge they walk around with in their heads is amazing, and you know you can trust the musical choices they're making because they have the experience to back it up. When they say, 'This is what Merle would have done,' it's because they know firsthand." While Bluhm may be best known for the breezy brand of West Coast roots and soul he helped pioneer with his band, The Mother Hips, his brilliant new solo album, Sorta Surviving, revels in his longtime love for classic country music. Recorded and mixed at the Cash Cabin under the guidance of Widespread Panic's Dave Schools, the collection is earnestly authentic and utterly timeless, and it finds Bluhm backed by elder statesmen like Roe and Chrisman along with younger virtuosos like keyboardist Jason Crosby (Eric Clapton, Dave Matthews) and Jesse Aycock (Hard Working Americans, Elizabeth Cook). "The band brought a certain maturity and experience," explains Schools. "Tim's songwriting is so strong that it naturally suggests how to complement itself, but those guys really know how to play and still leave room for a great singer." Indeed, the arrangements on the album are refined and elegant, yet still stripped-down and raw, enabling Bluhm's warm, easygoing vocals to sit front-and-center as he weaves vivid tales of ordinary men and women facing down hard days and even harder nights. Mixing new originals and reimagined covers, the record pulls from a half-century of American music to craft a thoroughly modern love letter to a bygone era, one that showcases both Bluhm's deft musical hand and his heartfelt reverence for the genre. "I've been a fan of classic country ever since I heard Merle Haggard sing," reflects Bluhm. "I just admired his voice and storytelling so much, but I never made an album like this before because I figured it would take me at least 20 or 30 years to get good enough." Bluhm discovered Haggard around the same time he co-founded the now-iconic Mother Hips, a band the San Francisco Chronicle has hailed as "one of the Bay Area's most beloved live outfits." The group began it's journey at Chico State, where performing at frat parties quickly gave way to club shows, regional touring, and national buzz, and before Bluhm and his bandmates had even graduated, they were already signed to Rick Rubin's American Recordings on the strength of their debut album, 'Back To The Grotto.' "When we signed with American, the label had just put out Johnny Cash's first Rick Rubin-produced album, which was actually recorded at the Cash Cabin," says Bluhm. "I got to meet and hang with Johnny a couple times back then, and after that, we opened for him at The Fillmore in San Francisco. I was so impressed with his presence. He definitely lived up to his legend in real life, and he made a big impression on me." Over the ensuing two-and-a-half decades, the Hips would release nine more studio albums as they cemented their status as festival and critical favorites, sharing bills with everyone from Wilco and Widespread Panic to Lucinda Williams and The Black Crowes along the way. Rolling Stone called them "divinely inspired," while Pitchfork praised their "rootsy mix of 70s rock and power pop," and The New Yorker lauded their ability to "sing it sweet and play it dirty." Ever-curious and wildly prolific, Bluhm simultaneously released a slew of his own solo and collaborative projects on the side. He toured for years as music director with Nicki Bluhm & The Gramblers, teamed up with The Grateful Dead's Mickey Hart and Bill Kreutzmann among others, and opened up Mission Bells Studio with fellow California favorite Jackie Greene and engineer Dave Simon-Baker. There, Bluhm produced albums for everyone from the Hips and Greene to Hot Buttered Rum and Little Wings in addition to hosting Phil Lesh, Josh Ritter, Rogue Wave, Los Lobos, Jonathan Richman, and more. As if that wasn't enough to keep him busy, in 2007, Bluhm and the Hips launched the Hipnic, an intimate and immaculately-curated music festival that's still held annually amongst the towering redwoods of Big Sur. Sorta Surviving marks Bluhm's first collection recorded outside of California, but one listen and it's clear that he's equally at home in the pines of Tennessee. There's a comfort to the performances, a subtle familiarity that radiates out like a warm invitation. "Most of the songs on this album are second or third takes," says Schools. "That comes from experience and teamwork, but also from working in a great environment. It's a palpable thing you feel when you're working in the room where Johnny Cash wrote his autobiography and recorded some of the best work of his later years. We were definitely all a little nervous meeting for the first time, but we got comfortable real quick there." The songs are character-driven, valuing the visceral over the cerebral, and Bluhm inhabits his narrators with a voice as tough and as pliable as worn-in leather. "It just felt natural for me to sing this way," he explains. "It was a chance to put away the books and focus more on the everyday rather than the existential, a chance to pull out the guitar and really tell some stories." Some of those stories come secondhand: the bluesy "Del Rio Dan" was first popularized by The Everly Brothers in the 1970's, while the waltzing "Kern River" is a Merle Haggard favorite, and Johnny Cash's "I Still Miss Someone" gets a melancholy makeover with a tip of the cap to Neil Young's timeless take on "Oh Lonesome Me." That the covers fit so seamlessly alongside Bluhm's original material stands as a testament both to his gifts as a compelling storyteller and his playful way with words. The shuffling "Jesus Save A Singer" tackles struggle and redemption with a wry smile, while the stream-of-consciousness title track sardonically examines our instinct to perpetually press on, and the honky-tonking "Where I Parked My Mind" finds dark wit even in the depths of addiction. "There's more humor in these songs than anything else I've written before," says Bluhm, "but it's all very tongue in cheek. That's a country music tradition." While tradition guided Bluhm throughout the project, he wasn't beholden to it, frequently taking risks and pushing boundaries with his performances and arrangements. In the end, his goal wasn't just to make a country-tinged record, but rather to craft narratives that could truly transport his listeners, that could breathe new life into stories forgotten and stories imagined, tales of dustbowl farmers and oil men and fugitive outlaws and traveling singers. "As a kid growing up in LA, I never even heard of country music," reflects Bluhm, "but I remember flipping around the radio dial and coming across 'The Gambler.' It was a song that just completely transcended genre. It was no more 'country' than Mark Twain was 'country.' It was a simple, timeless story set to music, and that's what I've ultimately aspired to make myself."

Das komplette Tracklisting:

1. Jesus Save A Singer - 3:08
2. No Way To Steer - 3:11
3. Jimmy West - 3:44
4. Where I Parked My Mind - 3:28
5. Raining Gravel - 3:46
6. Sorta Surviving - 3:15
7. Del Rio Dan - 4:24
8. I Still Miss Someone - 3:15
9. Squeaky Wheel - 3:55
10. Kern River - 3:05

Art-Nr.: 9792
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
Jesus save a singer
No way to steer
Jimmy West
Where I parked my mind
Sorta surviving
Squeaky wheel
Kern river

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Buffett, Jimmy - life on the flip side [2020]
7 Jahre nach seinem letzten Studioalbum legt Jimmy Buffett mit "Life on the flip side" endlich wieder ein neues Studioalbum vor. Es ist ein großartiges Werk geworden - Buffett ist noch immer in großer Form und macht sein Ding. Herrliche, lockere, gut gelaunte, sonnige, luftige Country-, Roots-, Americana-, Singer-Songwriter-Musik, wie sie typisch für ihn und seine fantastische Coral Reefer Band ist, mit diesem einzigartigen, unwiderstehlichen Karibik-/Calypso-Einschlag. 14 neue Tracks, darunter das exzellente "Down at the Lah Di Dah", das an allerbeste, alte "Margaritaville"-Tage erinnert. Ganz stark ist auch die Aufmachung des Albums, inklusive eines opulenten 64-setigen (!) Booklets (nein, das ist schon ein kleines Buch). CD und Büchlein stecken in einem schönen Schuber. Feinster "Stoff" für alle Jimmy Buffett-Fans!

Hier noch ein Original U.S.-Review:

It’s been seven years since Buffett’s last studio release, and despite a global pandemic, which shut down his concert tour season; Buffett still manages to deliver a new album, Life on the Flip Side. The album contains 14 songs, 11 of which were written or co-written by Buffett, along with a 62-page insert, which reads like a journal and looks like a photo album. The first single off the album is “Down At the La De Dah” which Buffett turned into a video available for download.
Recorded in January of 2020 at Buffett’s Shrimp Boat Studio in Key West, Florida, Buffett assembled his Coral Reefer Band, along with frequent collaborator Will Kimbrough and others to create Life on the Flip Side. Irish singer Paul Brady lends two of his songs to the project, along with other lyrical and vocal contributions. Other guest performers include Willie’s son, Lukas Nelson, who lends lyrical and vocal contributions on “Who Gets to Live Like This?”
Compared to previous Buffett albums, Life on The Flip Side, offers a predictable mix of island imagery and music to drink to, however this time around, there is something different about the album. Everyone who helped create this album was able to capture something talent can’t define alone: the essence of family. The songs are perfectly placed in sequence, which allows listeners to do something we all forgot could be done in the modern age of music…listen to an album in its entirety. Much like the included insert, which illustrates the journey of the album’s creation, the songs themselves are journeys as well, giving the listener a glimpse into Buffett’s poignant, yet often humorous, life. From the story of a fight between his kids on “Cussin’ Island,” to “Live, Like It’s Your Last Day,” Buffett shows no intention of putting the “Book on the Shelf” anytime soon. Coincidentally, the last track (“Book on the Shelf”) was co-written by Mick Utley and Erin McAnally, who were married in 2015. Both of them are children of fellow Coral Reefer band members.
(Matt Hoggatt / American Songwriter)

Das komplette Tracklisting:

1. Down at the Lah De Dah - 3:19
2. Who Gets to Live Like This - 3:02
3. The Devil I Know - 2:58
4. The Slow Lane - 4:10
5. Cussin' Island - 4:54
6. Oceans of Time - 3:31
7. Hey, That's My Wave - 4:26
8. The World Is What You Make It - 3:43
9. Half Drunk - 3:53
10. Mailbox Money - 4:19
11. Slack Tide - 4:16
12. Live, Like It's Your Last Day - 3:57
13. 15 Cuban Minutes - 5:14
14. Book on the Shelf - 3:23

Art-Nr.: 10087
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 15,90

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Bush, Sam - storyman [2016]
Die Bluegrass-/Americana-Institution,New Grass Revival- und Nash Ramblers-Ikone, der König der Mandoline und Fiddle, der große Sam Bush, begeistert die Americana- und Alternate Country-Welt mit einem neuen, fantastischen Album. Welch ein wundervolles Teil! Herrliche, großartige, frische Songs, präsentiert auf einem bluegrassigen Fundament, allerdings mit Drummer und elektrischen Momenten, zwischen elter New Grass Revival-Kompatibilität, astreinem Country, Alternate Country und rootsigem Americana, eingepackt in tolle Melodien und Arrangements - natürlich, unverbraucht, in höchster musikalischer Qualität. Eindrucksvoll auch, wie hervorragend Sam Bush singt. Gäste sind u. a. Emmylou Harris, Deborah Holland, Alison Krauss und Steve Fishell an der Pedal Steel. Die Stücke bleiben prächtig hängen und gehen zum Teil wunderbar ins Ohr. Kommt mit einem sehr schönen, reich bebilderten, alle Texte umfassenden, 20-seitigen Booklet. Ein absolutes Fest für die "grassige" Alternate Country-, Roots-, und Americana-Fraktion!

Die offizielle Produktinformation im Original:

Sam Bush has long since established himself as roots royalty. His highly anticipated new album, Storyman, is a freewheeling collection that gleefully picks and chooses from jazz, folk, blues, reggae, country swing, and bluegrass to create a jubilant noise only classifiable as the Sam Bush sound. Many of the songs are stories several of them true and the legendary mandolin and fiddle player co-wrote every one of them with friends including Guy Clark, Emmylou Harris, Jon Randall Stewart, Jeff Black, and others. Instead of kicking back and soaking up honors, such as an Americana Music Association Lifetime Achievement Award and his suite of Grammys and International Bluegrass Music Association trophies, Storyman proves once again that the Father of Newgrass and King of Telluride will never stops striving to create something new. I m hoping it just kind of flows for people and makes them go, Hey! It s a Sam record. It sounds like Sam and the band, Bush says of the album. But for the first time ever, I also find myself thinking, I hope you enjoy the stories. It s my singer-songwriter record.

Das komplette Tracklisting:

1. Play By Your Own Rules - 3:31
2. Everything Is Possible - 4:01
3. Transcendental Meditation Blues - 3:53
4. Greenbrier - 4:48
5. Lefty's Song - 3:57
6. Carcinoma Blues - 3:56
7. Bowling Green - 3:32
8. Handmics Killed Country Music - 3:42
9. Where's My Love - 5:53
10. It's Not What You Think - 3:54
11. I Just Wanna Feel Something - 5:35

Art-Nr.: 9204
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 16,90

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Carter, Deana - the story of my life [2005]
Der berühmte Chicago Tribune charakterisiert Deana Carter wie folgt: "She is noted for her singular voice, which manages to be strong, soft and sultry at the same time". Welch wahre Worte! Denn auch nach ihrer Babypause, diversen privaten und beruflichen Turbulenzen (Scheidung und zwei Labelwechsel), hat die 39-jährige Tochter von Fred Carter jr., einem namhaften Session-Gitarristen, der mit berühmten Persönlichkeiten wie Elvis Presley, Simon & Garfunkel oder Roy Orbinson zusammenarbeitete, nichts von ihrer musikalischen Faszination verloren. Nein, im Gegenteil! Der Wechsel zu ihrem neuen Label hat ihr scheinbar ungeheure Motivation verliehen. Denn diesmal gibt es auf ihrem neuen Album "The Story Of My Life" fast eine "One-(Wo)Man-Deana-Carter-Show" vom Allerfeinsten. Sie hat sämtliche Songs geschrieben, singt, spielt diverse Instrumente und hat das Werk auch noch eigenständig produziert. Dazu hat sie ein paar wenige, auserwählte, mit ihr wunderbar harmonierende, Instrumentalisten (überragend Lead-Gitarrist Jeff Carter) mit ins Boot genommen. Was hat sich nun gegenüber ihrer Vorgänger-CD "I’m Just A Girl" von 2003 geändert, die trotz sehr ansprechender Leistung (sh. auch unter "Stöbern") mit nur 82.500 abgesetzten Exemplaren, nicht mehr an die Traum-Zahlen ihrer zwei ersten Alben anknüpfen konnte, obwohl ihr Debüt natürlich mit über drei Millionen verkaufter CDs einen nicht erwarteten, grandiosen (wahrscheinlich auch nicht zu wiederholenden) Erfolg gebracht hatte? Zum einen zeigt schon das Cover, dass Deana das äußerliche Image eines modelartigen
"Sunny-Girls" abgelegt hat. Vielmehr wirkt sie viel fraulicher und introvertierter, ja fast verträumt, wobei sicherlich auch die Geburt ihrer Tochter dabei eine wesentliche Rolle spielen dürfte. Auch ihre Musik kommt dementsprechend gereifter daher. Die Gute-Laune-Nummern und auch der Countrygehalt reduzieren sich auf die Single "One Day At A Time", ein locker, flockig ins Ohr gehender Midtempo-Song und "Getting Over You", ein rhythmischer Akustikpiano-getränkter Popsong mit leichtem Southern-Flair, auch dank Deana’s vorzüglich eingebrachtem Stratocaster-Spiel. So spielt sich das Ganze also weitgehend im nur noch dezent Country- und leicht Americana-infizierten, modernen Singer/Songwriter-Pop-Rock-Bereich ab (zuweilen liegt auch ein Vergleich zu Sheryl Crow nahe), das allerdings auf einem Top-Niveau mit tollen Songs, prima Melodien und viel musikalischer Kompetenz. So richtig die Post geht beim Opener "The Girl You Left Me For" ab, ein leocht psychedelisch angehauchtes Pop-Rock-Knaller, wo leichte Reminiszenzen in Richtung Avril Lavigne unweigerlich aufflackern. Der Rest sind relativ ruhig gehaltene, dennoch oft durchaus knackige, sich meist mit Beziehungsstress auseinandersetzende, nachdenkliche Nummern, die aber wunderschön instrumental in Szene gesetzt wurden und durch Deana’s zarte, fast verletzlich klingende Stimme voll zur Entfaltung kommen. Excellent dabei "Ordinary" (herrliche Hammondbegleitung, tolle Breaks, klasse Gitarre) und das bluesartige "Sunny Day" (schöne E-Fills, Solo und Abschlusspart durch Gitarrist Jeff Carter, im Stile von Peter Green). Insgesamt ein schönes, in sich schlüssiges Gesamtwerk, mit geschmackvoller Covergestaltung, die natürlich alle Texte beinhaltet. Deana Carter zeigt mit ihrem neuen Album einmal mehr, dass mit ihrem Namen weiterhin große Qualität verbunden ist, weshalb wohl auch eine, für ein Independent-Label ungewöhnliche, fast Major-mäßig, groß angelegte Promotionkampagne in den USA gestartet wurde. Ob sie verkaufstechnisch damit wieder an alte Erfolgstage anknüpft, werden die nächsten Wochen und Monate zeigen. Aus unserer Sicht spricht absolut nichts dagegen! Qualitätsmäßig jedenfalls präsentiert sie sich in blendender Verfassung! Und das ist das Wichtigste! (Daniel Daus)

Art-Nr.: 3095
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 16,90

In folgende Titel können Sie reinhören:
The girl you left me for
One day at a time
Ordinary
Atlanta & Birmingham
Sunny day

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Cash, Rosanne - the essential rosanne cash [2011]
Zeitlich begrenzter, sehr günstiger Einführungspreis!
2 CD-Set! Fantastische, die wirklich stattliche Anzahl von 36 Songs umfassende Compilation von Johnny Cash's Tochter Rosanne Cash (rund 135 Minuten Spielzeit), die ihre gesamte Karriere zwischen 1978 und 2009 umfasst. Die Songs für dieses Album wurden von Rosanne höchst persönlich zusammengestellt. Enthalten sind sämtliche Number One-Hits aus ihrer super erfolgreichen Nashville-Phase, einiges ihrer neueren Alternate Country-Zeit und ein paar rare, wichtige, dennoch nicht so gängige Nummern. Es ist eine wunderbare Zusammenstellung geworden. Das 16.seitige Booklet enthält alle nötigen Informationen zu den Songs, mit allen beteiligten Musikern und überaus interessante Liner-Notes von Rosanne selbst. Der perfekte Einstieg für alle, die sich schon immer mal mit der tollen Musik dieser großartigen Künstlerin beschäftigen wollten und für die Fans eine willkommene Ergänzung zur Sammlung, zumal der remasterte Sound nie besser war. Essentiell!

Hier noch die Produktbechreibung im englischen Original:

The idiosyncratic and innovative music of Rosanne Cash, daughter of Johnny Cash, made her one of the pre-eminent singer/songwriters of her day. Although Rosanne Cash is often classified as a country artist, her music draws on many genres, including folk, pop, rock and blues. In the 1980s, she had a string of chart-topping singles, which crossed musical genres and landed on both C&W and Top 100 charts, the most commercially successful being her 1981 breakthrough hit "Seven Year Ache", which topped the U.S. country singles charts and reached the Top 30 on the U.S. pop singles charts. Included on The Essential Rosanne Cash are 36 tracks over 2 discs, including 10 #1 US Country singles. There is a story here on The Essential Rosanne Cash that runs from 1978's "Can I Still Believe In You" to 2009's "Sweet Memories." Within the joints and joists of these songs Cash married, had children, married again, had children again, traveled, lived in five cities on two continents, lost loved ones, got sick and got well again. Many of the selections on this compilation are signposts of sorts for the landmarks of her life, and the personal and musical are essentially interwoven.

Die komplette Tracklist:

Disc 1
1 Can I Still Believe In You - 5:37   
2 Baby, Better Start Turnin' Em Down - 4:11   
3 No Memories Hangin' Round - 3:25   
4 Seven Year Ache - 3:16   
5 Blue Moon With Heartache - 4:28   
6 My Baby Thinks He's A Train - 3:14   
7 It Hasn't Happened Yet - 3:24   
8 I Wonder - 3:05   
9 If It Weren't For Him - 3:33   
10 I Don't Know Why You Don't Want Me - 3:18   
11 Never Be You - 3:29   
12 Hold On - 3:38   
13 Runaway Train - 4:01   
14 The Way We Make a Broken Heart - 3:55   
15 If You Change Your Mind - 3:22   
16 It's Such a Small World - 3:21   
17 Tennessee Flat Top Box - 3:18   
18 I Don't Want to Spoil the Party - 2:36   

Disc 2
1 The Real Me - 4:25   
2 On The Surface - 2:57   
3 What We Really Want - 3:30   
4 I Want a Cure - 4:20   
5 Mirror Image - 3:18   
6 The Wheel - 4:20   
7 Sventh Avenue - 5:13   
8 Sleeping in Paris - 4:07   
9 Love is Forever [Live] - 4:13   
10 Western Wall - 3:02   
11 September When it Comes - 3:40   
12 Black Cadillac - 3:46   
13 House on the Lake - 3:32   
14 The World Unseen - 5:13   
15 Good Intent - 3:45   
16 500 Miles - 3:05   
17 Sea of Heartbreak - 3:07   
18 Sweet Memories - 3:29

Art-Nr.: 7397
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 16,90

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Chambers, Kasey - little bird [2011]
Jetzt endlich auch in den USA erschienen. Deswegen haben wir nun die preisgünstigere US-Pressung im Porgramm. Das neue Album der hinreissenden australischen Singer-Singwriterin ist erneut eine Ansammlung von herausragenden Songperlen an der Schnittstelle Country/Americana/Alternate Country/Roots! Mit traumhaften Melodien und locker, flockigen, aber immer die nötige Portion rootsigen "Grits" bewahrenden Songs schlägt sie eine faszinierende Brücke zwischen dem Material der früheren Dead Ringer Band und dem ihres 2008 mit Gatte Shane Nicholson eingespielten Werkes "Rattlin' bones". Nicholson ist im übrigen bei allen Tracks mit von der Partie (Gitarre, Mandoline, Background Gesang), ebenso wie zumeist auch der gesamte Chambers-Clan um Vater Bill und Bruder Nash. Herrlich, wie sich diese wunderschönen Songs in unseren, nach diesen Melodien geradezu "gierenden" Gehörgängen festsetzen. Gast auf einem Track: Patty Griffin! Kasey Chambers mit einem weiteren, absoluten Meisterwerk voller traumhaft schöner und inspirierter Songs - ein neuer Meilenstein ihren makellosen Karriere.

Die offizielle Produktbeschreibung im Original:

The pressure was off. Kasey Chambers had announced to her manager, record company and fans that there wouldn't be a new album for at least another year. And then the songs came rushing out - 14 diverse compositions, all delivered fully formed, completed within a few hectic weeks in February 2010, during which Kasey also performed as opening act through Lyle Lovett's Australasian tour. It was a mercurial creative period, the most exciting and intensive outpouring of her career: so much joyous, inspired music, brimming with irresistible energy and verve. "This album certainly took me by surprise, but I didn't question where these songs came from; they just arrived." Such spontaneous creativity demanded immediate action; her manager and brother Nash Chambers, agreed, and thus the Little Bird album was swiftly born.
Within a month, recordings had been completed in Nash's Foggy Mountain Studio, using an all-star band that Kasey dubs The Millionaires; John Watson on drums, Jeff McCormack on bass, Shane Nicholson, Jim Mogine (Midnight Oil) and Kasey's dad Bill Chambers playing all manner of guitars and stringed instruments. Then came a procession of respected guest vocalists for different tracks: Missy Higgins, Camille Te Nahu, Kevin Bennett, Brooke Harvey, Andy Toombs, James Gillard, and seminal American country singer Patty Griffin. "These guys are some of my favourite musicians and singers, including the backbone of my touring band, so there is a familiarity and intuitive understanding of where this music should go," says Kasey. Nothing in the recording process sounds forced or laboured; every track sounds fresh, positive, exciting. "When the songs are that fresh, there's something magical about taking them into the studio and bringing them to life, right then and there." Little Bird launches an exciting new phase of Kasey's career, one that shows her confident, calm and full of shimmering optimism.

Das komplette Tracklisting:

1. Someone Like Me (4.09)
2. Beautiful Mess (3.14)
3. Devil On Your Back (3.23)
4. Little Bird (3.30)
5. Georgia Brown (1.45)
6. Somewhere (3.47)
7. This Story (3.43)
8. Love Like A Hurricane (3.10)
9. Down Here On Earth (3.15)
10. Nullarbor (The Biggest Backyard) (2.24)
11. Bring Back My Heart (2.56)
12. Invisible Girl (3.19)
13. Train Wreck (5.56)
14. The Stupid Things I Do (hidden track) (2.00)

Art-Nr.: 7164
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 15,90

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Civil Wars, The - same [2013]
Sehnlichst erwartetes Follow-Up des grandiosen Americana-/Singer-Songwriter-/Alternative Country-/Folk Rock-Duos Joy Williams und John Paul White zu dem mit 3 Grammys dekorierten, frenetisch gefeierten Debut "Barton hollow". The Civil Wars machen genau da weiter, wo sie mit ihrem Vorgänger aufgehört haben. Songmaterial und Performance sind exzellent!

Kurze Original-Produktinfo:
The Civil Wars' highly anticipated sophomore self-titled album is the follow up to the three-time Grammy Award-winning duo's acclaimed debut, Barton Hollow.
The Civil Wars was recorded in Nashville between August 2012 and January 2013. Charlie Peacock was once again at the helm as producer for the album. Additionally, Rick Rubin produced the duo's performance for the track "I Had Me a Girl" in August of 2011. Peacock later completed the track by producing the instrumentation and mix.

Exklusives "Track by Track"-Review zu allen Stücken des Albums von Joy Williams:

THE ONE THAT GOT AWAY

This song pays homage to regret. Nearly everybody I've come across has somebody in their life that they wonder what life would be like if they'd never met that person. It's that sliding-door moment -- in the blink of an eye everything could change. Either for the positive or the negative.
John Paul and I wrote this song in the screened-in porch of my and Nate's new home. I remember warm breezes blowing, a mild day. I had recently had my son, Miles, who happened to be asleep with Nate in the living room, right next to the porch. I remember asking John Paul to play quietly so he didn't wake up the baby.

I HAD ME A GIRL

This song always conjures up an image of a glass of whiskey and a lit cigarette. It's a little brooding. A little dangerous. It smolders. It has swagger and grit. It's full of innuendo and Southern Gothic tones. I love the feel of this track, and the way this song came together on the record. "I Had Me a Girl" is one of those musical moments that makes me wish I knew how to play electric guitar. Or any guitar, for that matter.

SAME OLD SAME OLD

This song, to me, represents the ache of monogamy. This isn't an "I'm leaving you" song. It's a vulnerable confession of "I don't want to leave. I want to work on this -- with you." Having said that, someone once told me a story about long-term relationships: to think of them as a continent to explore. I could spend a lifetime backpacking through Africa, and I would still never know all there is to know about that continent. To stay the course, to stay intentional, to stay curious and connected -- that's the heart of it. But it's so easy to lose track of the trail, to get tired, to want to give up, or to want a new adventure. It can be so easy to lose sight of the goodness and mystery within the person sitting right in front of you. That continent idea inspires me, and makes the ache when it comes hurt a little less. To know that it happens to all of us. What I'm realizing now is that sometimes the "same old same old" can actually be rich, worthwhile and a great adventure.

DUST TO DUST

This song is an anthem for the lonely. Sometimes you come across somebody who thinks they are hiding their pain, but if we are all honest, nobody is very good at it. "You're like a mirror, reflecting me. Takes one to know one, so take it from me.” When John Paul and I wrote this late one night in Birmingham, England, we decided to change the pronoun at the end of the song. We wanted to represent that we all experience loneliness in our lives.

EAVESDROP

We brought in our producer, Charlie Peacock, on this song. He helped with arrangements and really helped take the song to a totally different place. Sometimes as an artist, you can't see what needs re-arranging when you're so "in it." Charlie brought perspective. Almost like an eavesdrop within an "Eavesdrop."
Strangely enough, this song always reminds me that my voice has changed since the last album. I have my son to thank for that, truly. When I was first pregnant and performing on the road, I thought something was wrong with my voice. I was having a hard time hitting high notes, while my low notes kept getting deeper and deeper. I did some research with the help of a vocal coach, and learned that hormone levels affect a female singing range. Having a boy, naturally, upped my testosterone levels, making low notes easier to hit and higher notes harder to reach. But the great thing? After having Miles, I regained my high range AND have kept my low range. Pregnancy literally changed the makeup of my vocal cords. There's a different timbre to it now, and I love that I can hear the story of my son in my singing.

DEVIL'S BACKBONE

This song is our take on an Americana murder ballad. It's dark, prickly, anxious. It was fun writing because we just imagined some dust-bowl scenario, a broke-down town, and a man awaiting being hung for something he did in the name of trying to provide for his family. The woman who loves him is watching him standing there on the gallows.
This song always reminds me of when the melody first came to mind. I was doing my makeup in the tiled bathroom upstairs, with my newborn Miles in a yellow rocking bassinet next to me. I started singing, and turned on the voice memo app on my iPhone so I wouldn't forget it. As I sang, Miles started cooing along with me. Not on pitch, mind you, but I'd move a note, and he'd move a note. I'm never deleting that voice memo. It's become one of my favorites.

FROM THIS VALLEY

That's our Grand Ole Opry song. A new spiritual. It's actually the oldest song written on the album. We wrote it before Barton Hollow came out. Even though we didn't have our own recording of it, we started performing it live and it became a fan favorite. It made sense to finally put it on an album. One of my favorite moments on stage every night was singing the a cappella part together.

TELL MAMA

We recorded the performance at Fame studio in Muscle Shoals, a place we'd written a few songs before that made it onto Barton Hollow. I always felt the musical ghosts in that studio, one of whom was the great Etta James. We're a band that's known for covering songs live in our own way, and we thought it would be fun to take a stab at "Tell Mama." I found out later that where we recorded was the same room she recorded her version. That might explain why I kept getting goosebumps.

OH HENRY

We wrote it one week before Barton Hollow, in the mountains of Salt Lake City during our first Sundance Festival. We conjured up a story about a woman who was married to a philandering man. She is begging her man to level with her, and letting him know she can only take so much, a la "it's gonna kill me or it's gonna kill you."

DISARM

Again, we're the band who loves to do covers. Both John Paul and I have always been huge Smashing Pumpkins fans. Nate mentioned it might be a cool cover, and we actually wound up working it out the same day that we wrote "Oh Henry" up in Salt Lake City for Sundance. It turned into another on-stage staple that people asked for every night. We found out later from his then-manager that Billy dug it.

SACRED HEART

We wrote this song in a flat in Paris, with the Eiffel Tower in full view on a cold night. Tall windows, Victorian furniture, and somehow the atmosphere of all of that seeped into the song. Nate and our friends were there in the room as we wrote, all of us drinking wine together. I also loved getting to try out my flawed French. I wrote what words I knew in French, and then had a Parisian friend named Renata Pepper (yes, that's her real name) look it over later and help me translate. When we recorded the song for the album, I called in a French professor from Vanderbilt named Becky Peterson, who has now become a good friend.

D'ARLINE

We wrote this song in the studio behind my house in Nashville, on a warm summer day, with the windows and doors open. This song is a sweet lament, of loss and the belief that you'll never be able to love anybody else again. I stumbled across "Letters of Note" on Twitter, and was struck by the title of a letter written by a famous physicist named Richard Feynman: "I love my wife. My wife is dead." A little over a year after her death, he wrote his wife a love letter and sealed it. It was written in 1946, and wasn't opened until after his death in 1988. He ended his note to his long-lost wife with "Please excuse my not mailing this -- but I don't know your new address."
Another aside to this song: While we were recording the song together, John Paul and I could hear crows cawing in the background that I've since named Edgar, Allen and Poe. This recording and performance of the song is the first and only in existence, a work tape recorded simply on my iPhone.

Das komplette Tracklisting:

1. The One That Got Away - 3.32
2. I Had Me a Girl - 3.45
3. Same Old Same Old - 3.48
4. Dust to Dust - 3.49
5. Eavesdrop - 3.35
6. Devil's Backbone - 2.29
7. From This Valley - 3.33
8. Tell Mama - 3.48
9. Oh Henry - 3.32
10. Disarm - 4.42
11. Sacred Heart - 3.19
12. D'Arline - 3.06

Art-Nr.: 8264
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 13,90

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Earle, Steve - the low highway [2013]
Exzellentes, neues Album des Americana-/Alternative Country-Pioniers, eingespielt mit seiner Touring-Band den Dukes (& Duchesses), inkl. Gattin Alison Moorer. Es ist ein typisches Earle-Album geworden, das mit der Variabilität der Songs aber dennoch etwas ganz Besonderes darstellt. Wunderbar rootsig, oft in einem sehr trockenen stripped-down Full Band-Arrangement dargeboten, rau, erdig, kantig, sich geschickt in den verschiedensten Nischen des Alternate Country bewegend, oft recht ruhig, dazwischen aber auch mal dreckig rockig ("Calico County"), auch mal , zumindestens was die E- Gitarrensounds betrifft, mit einem fast an die legendären Byrds erinnernden Retro-Countryrocker ("21st. Century Blues") oder mit einem irisch folkigen, grassigen Stück (Warren hellman's Banjo) und feinen, melodischen Storytelling-/Americana-Nummern ("The low highway", "Remember me"). Egal, was Earle und seine Band auch spielen, die Songs sind erstklassig. Die einschlägige Presse ist mal wieder Voll des Lobes - völlig zu Recht!

Hier noch ein Original U.S.-Review:

Over the past 27 years Steve Earle's music has journeyed all across the Americana spectrum: country, rock, folk, Beatlesque psychedelia, topical folk songs, etc. He's even done a covers record of Townes Van Zandt songs to pay tribute to his late mentor and friend. His very best offerings are those he's recorded with his Twang Trust production partner, Ray Kennedy. They're together here. Over 12 songs, Earle does what he does best: he tells stories that get under the skin and into the bones. Backed by the Dukes (& Duchesses), his road band, the title track's first-person vignette captures the strangeness and contradiction of America from a small vantage point, a first-person narrative about traveling. His world-weary voice brings the listener into the meld of fiddle, strummed acoustic guitars, and whining pedal steel and keeps her there, seeing it all through his eyes. "Calico County" is a straight-up rocker with whomping electric guitars, Fender Rhodes, bass, and drums. "Burnin' It Down" is the other side of the roaming romantic of "I Ain't Ever Satisfied," defeated, angry, bewildered about what happened to those dreams and his town. Allison Moorer's accordion lends a poignant undercurrent to the guitars. "After Mardi Gras," written for Lucia Micarelli's character in the HBO series Treme, is delivered with a gentle swing, and a tender violin solo by Eleanor Whitmore. This contrasts with the barroom boogie of "Pocket Full of Rain," driven by Moorer's piano, fiddle, and a strolling upright bassline by Kelly Looney. "Down the Road, Pt. 2" is a roiling trucker country number, infused with the spirit of Bill Monroe thanks to Earle's mandolin. The closer, "Remember Me," a slow, 4/4 Americana number, is a plea from a father to his child; it's one of the most moving, poetic songs in Earle's catalog. The singer is accompanied only by his acoustic guitar in the first half, before Will Rigby's loose-tuned snare and bass drum, accompanied by upright bass, mandolin, and pedal steel, enter. The song is a testament of familial faith, an offering of unwavering love with a lone request: that the protagonist not be forgotten no matter life's turns. The Low Highway is Earle the storyteller without any agenda save for getting the songs right, telling stories, and recording songs that will resonate as deeply live as they do here. This may be his most consistent offering since El Corazón.
(Thom Jurek, Rovi)

Das komplette Tracklisting:

1. The Low Highway - 3:59
2. Calico County - 2:58
3. Burnin' It Down - 2:57
4. That All You Got? - 3:00
5. Love's Gonna Blow My Way - 2:49
6. After Mardi Gras - 4:04
7. Pocket Full of Rain - 3:14
8. Invisible - 4:18
9. Warren Hellman's Banjo - 1:47
10. Down the Road, Pt. 2 - 2:36
11. 21st Century Blues - 3:40
12. Remember Me - 4:34

Art-Nr.: 8134
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 15,90

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Earle, Steve - the low highway ~ limited deluxe edition cd & dvd-set [2013]
Limitierte Deluxe-Edition mit Bonus-DVD! Die DVD enthält eine Dokumentation aus dem Studio ("Making of ' The Low Highway'"), den Videoclip zu "Invisible", sowie eine spezielle 24/96 High Resolution Analog Audio-Aufnahme des kompletten Albums.

Exzellentes, neues Album des Americana-/Alternative Country-Pioniers, eingespielt mit seiner Touring-Band den Dukes (& Duchesses), inkl. Gattin Alison Moorer. Es ist ein typisches Earle-Album geworden, das mit der Variabilität der Songs aber dennoch etwas ganz Besonderes darstellt. Wunderbar rootsig, oft in einem sehr trockenen stripped-down Full Band-Arrangement dargeboten, rau, erdig, kantig, sich geschickt in den verschiedensten Nischen des Alternate Country bewegend, oft recht ruhig, dazwischen aber auch mal dreckig rockig ("Calico County"), auch mal , zumindestens was die E- Gitarrensounds betrifft, mit einem fast an die legendären Byrds erinnernden Retro-Countryrocker ("21st. Century Blues") oder mit einem irisch folkigen, grassigen Stück (Warren hellman's Banjo) und feinen, melodischen Storytelling-/Americana-Nummern ("The low highway", "Remember me"). Egal, was Earle und seine Band auch spielen, die Songs sind erstklassig. Die einschlägige Presse ist mal wieder Voll des Lobes - völlig zu Recht!

Hier noch ein Original U.S.-Review:

Over the past 27 years Steve Earle's music has journeyed all across the Americana spectrum: country, rock, folk, Beatlesque psychedelia, topical folk songs, etc. He's even done a covers record of Townes Van Zandt songs to pay tribute to his late mentor and friend. His very best offerings are those he's recorded with his Twang Trust production partner, Ray Kennedy. They're together here. Over 12 songs, Earle does what he does best: he tells stories that get under the skin and into the bones. Backed by the Dukes (& Duchesses), his road band, the title track's first-person vignette captures the strangeness and contradiction of America from a small vantage point, a first-person narrative about traveling. His world-weary voice brings the listener into the meld of fiddle, strummed acoustic guitars, and whining pedal steel and keeps her there, seeing it all through his eyes. "Calico County" is a straight-up rocker with whomping electric guitars, Fender Rhodes, bass, and drums. "Burnin' It Down" is the other side of the roaming romantic of "I Ain't Ever Satisfied," defeated, angry, bewildered about what happened to those dreams and his town. Allison Moorer's accordion lends a poignant undercurrent to the guitars. "After Mardi Gras," written for Lucia Micarelli's character in the HBO series Treme, is delivered with a gentle swing, and a tender violin solo by Eleanor Whitmore. This contrasts with the barroom boogie of "Pocket Full of Rain," driven by Moorer's piano, fiddle, and a strolling upright bassline by Kelly Looney. "Down the Road, Pt. 2" is a roiling trucker country number, infused with the spirit of Bill Monroe thanks to Earle's mandolin. The closer, "Remember Me," a slow, 4/4 Americana number, is a plea from a father to his child; it's one of the most moving, poetic songs in Earle's catalog. The singer is accompanied only by his acoustic guitar in the first half, before Will Rigby's loose-tuned snare and bass drum, accompanied by upright bass, mandolin, and pedal steel, enter. The song is a testament of familial faith, an offering of unwavering love with a lone request: that the protagonist not be forgotten no matter life's turns. The Low Highway is Earle the storyteller without any agenda save for getting the songs right, telling stories, and recording songs that will resonate as deeply live as they do here. This may be his most consistent offering since El Corazón.
(Thom Jurek, Rovi)

Das komplette Tracklisting:

1. The Low Highway - 3:59
2. Calico County - 2:58
3. Burnin' It Down - 2:57
4. That All You Got? - 3:00
5. Love's Gonna Blow My Way - 2:49
6. After Mardi Gras - 4:04
7. Pocket Full of Rain - 3:14
8. Invisible - 4:18
9. Warren Hellman's Banjo - 1:47
10. Down the Road, Pt. 2 - 2:36
11. 21st Century Blues - 3:40
12. Remember Me - 4:34

Art-Nr.: 8135
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 20,90

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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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Gov't Mule - the georgia bootleg box ~ 6 cd live-set [2012]
6 CD-Set!
WIR HABEN DIE ORIGINAL U.S.-AUSGABE!
Wieder mal ein Fest für die Mule-Heads!
Die großartige, 6 CDs umfassende "Georgie Bootleg Box" enthält insgesamt 3 komplette Konzerte der aussergewöhnlichen Blues-/Southern-/Jamrock-Band um den genialen Gitarristen Warren Haynes, alle mitgeschnitten im Jahre 1996, als die Band gerade mal 2 Jahre bestand. Wir hören hier also die legendäre Original-Besetzung mit dem unvergessenen Allen Woody am Bass. Die Band hatte schon immer eine besondere und sehr enge Beziehung zum U.S.-Bundesstaat Georgia. Nicht zuletzt fanden seinerzeit im "Big House" der The Allman Brothers Band in Macon die ellerersten Session von Warren Haynes, Matt Abts und Allen Woody statt. Konsequent also, dass die Truppe nun diese wunderbaren Live-Shows ihren unzähligen Fans zugänglich macht. Im übrigen tauchten auch damals schon bei den Mule-Shows immer mal wieder illustre, hoch interessante Gäste auf. Hier waren das zum Beispiel der blutjunge Derek Trucks (The Allman Brothers Band, Derek Trucks Band, Tedeschi Trucks Band) und Tinsley Ellis. Gov't Mule in ihrem Element - und die Fans feiern...

Hier ein Statement von Warren Haynes zu dieser großartigen Veröffentlichung im Original-Wortlaut:
Those of you that have followed the Mule's history know that our connection with the state of Georgia is a deep one. Our first rehearsals were at the one-time living quarters of the Allman Brothers Band known as The Big House (now the ABB museum) in Macon, GA. Some later rehearsals took place at what used to be the legendary Capricorn Recording Studio in Macon while recording the song GONNA SEND YOU BACK TO GEORGIA for the HOUND DOG TAYLOR Tribute CD. A lot of our earliest shows were in Georgia as well so a lot of our growth as a band took place in front of Georgia audiences.
Most Mule fans know also that two of our official "live" releases were recorded on back to back New Year's Eves (1998 and 1999) at the Roxy Theater in Atlanta. Venues like the Roxy and the Georgia Theater in Athens were staples in our early touring schedule (while watching an episode of the TV show CITY CONFIDENTIAL that took place in Athens I got a chuckle seein GOV’T MULE on the marquis as they scanned past the Georgia Theater).
Having recently been reminded of these 3 shows from '96, and of the fact that they had been recorded and mixed by Doug Oade back in the day, I found myself listening to these recordings for the first time in fifteen years. I was instantly taken with the visceral nature of the music along with the rawness of the way that it was captured. The Mule was barely two years old at this time and what we hear here, along with many songs from our first CD, are the works in progress of many songs that would later wind up on DOSE and in some cases LIFE BEFORE INSANITY. This was at a time in our career when our repertoire was small but constantly growing, not unlike our fan base.
Enjoy! (Warren Haynes)

Die kompletten Setlists der 3 Konzerte:

4/11/96
Georgia Theatre
Athens, GA

Disc 1:
1. Blind Man in the Dark (9.30)
2. Mother Earth (8.00)
3. John the Revelator (1.40)
4. Temporary Saint (6.11)
5. Game Face (6.22)
6. No Need to Suffer (8.09)
7. Trane > (7.14)
8. Eternity's Breath Jam > (2.00)
9. Thelonius Beck > (4.08)
10. Trane > (1.19)
11. St. Stephen Jam > (4.30)
12. Trane (2.48)
13. Don't Step on the Grass, Sam (8.02)

Disc 2:
1. Presence of the Lord (6.41)
2. Birth of the Mule (6.00)
3. Left Coast Groovies (6.23)
4. Drums (6.44)
5. Mule > (4.54)
6. Who Do You Love > (1.35)
7. Mule (3.12)
8. Goin’ Out West (7.11)
9. Spanish Moon (11.47) *
10. Gonna Send You Back to Georgia (7.29) *
* With Derek Trucks on guitar


4/12/96
The Roxy
Atlanta, GA

Disc 1:
1. Blind Man in the Dark (9.34)
2. Mother Earth (8.31)
3. Mule (5.54)
4. Temporary Saint (6.15)
5. Game Face (6.27)
6. No Need to Suffer (8.19)
7. Trane > (6.51)
8. Eternity's Breath Jam > (2.02)
9. Thelonius Beck > (3.56)
10. Trane > (1.41)
11. St. Stephen Jam > (4.37)
12. Trane (1.35)
13. Painted Silver Light (7.19)

Disc 2:
1. Don't Step on the Grass, Sam (7.59)
2. Birth of the Mule (5.31)
3. Just Got Paid (7.32)
4. Goin' Out West (6.16)
5. The Same Thing (10.17)
6. Gonna Send You Back to Georgia (8.33) *
7. Young Man Blues( 2.35) * >
8. Good Morning Little Schoolgirl (7.23) *>
9. Young Man Blues (1.59) *
*With Derek Trucks on guitar


4/13/96
Elizabeth Reed Music Hall
Macon, GA

1. Blind Man in the Dark (9.54)
2. Mother Earth (9.09)
3. John the Revelator (1.42)
4. Temporary Saint (5.49)
5. Rocking Horse (4.36)
6. Game Face (6.47)
7. No Need to Suffer (8.41)
8. Trane > (8.55)
9. Eternity’s Breath Jam > (1.58)
10. Thelonius Beck > (4.01)
11. Trane > (1.41)
12. St. Stephen Jam (5.46)

Disc 2:
1. Presence of the Lord (6.44)
2. Birth of the Mule (6.41)
3. Monkey Hill > (4.36)
4. She's So Heavy Jam (1.28)
5. Mule (7.07)
6. Goin' Out West (7.55)
7. She's 19 Years Old (10.20) *
8. Gonna Send You Back to Georgia (8.20)*
* With Tinsley Ellis on guitar

Art-Nr.: 7952
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 31,90

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Lewis, Aaron - sinner [2016]
Saustarkes (nunmehr bereits das dritte) Country-Album des Frontmannes der U.S.-Rockband Staind, der hiermit erneut die Countryroots seiner Jugend, als er mit dieser Musik aufwuchs, auf überaus authentische und glaubhafte Art und Weise auslebt. Was ist dieser Bursche für ein hervorragender Countrysänger und -Musiker. Hat viel Outlaw-Charme. Country vom Allerfeinsten!

Das komplette Tracklisting:

1. Sinner (feat. Willie Nelson) - 3:31
2. That Ain't Country - 4:02
3. Whiskey And You - 4:28
4. Northern Redneck - 3:39
5. Mama - 5:04
6. Sunday Every Saturday Night - 4:59
7. Lost And Lonely - 4:57
8. Story Of My Life - 4:34
9. Stuck In These Shoes - 3:44
10. I Lost It All - 3:54
11. Travelin' Soldier - 4:46

Art-Nr.: 9274
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 14,90

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McCain, Edwin - mercy bound [2011]
Edwin McCain meldet sich nach ein paar Jahren Pause endlich mal wieder mit einem neuen, hervorragenden Studioalbum zurück. Der großartige Sänger und Songwriter aus South Carolina, im übrigen sehr gut befreundet mit Gov't Mule's Warren Haynes (McCain taucht immer mal wieder bei den berühmten, von Haynes in Ashville inszenierten, alljährlichen "Chistmas jams" auf, von denen ja auch schon einige als "The Benefit Concert" veröffentlicht wurden), bleibt sich auch mit "Mercy bound" seiner, von den Fans so geschätzten Linie treu und kommt mit einer für ihn typischen Mischung aus wunderbarem "rootsy light rock, singer/songwriter-inspired folk and soaring Southern-style melodies". Er ist prächtig bei Stimme und sein von viel Emotion und Kraft geprägter Gesang ist stark wie immer, genauso wie sein Songwriting. Tracks wie der großartige Opener "The boy who cried love" (eine von viel Romantik geprägte Nummer im Stile seiner großen Hits wie "Beautiful life" oder "I'll be"), das gut abgehende, viel Drive aufbauende "Boom", der großartige "easygoing funk" von "Strange angel", das folkige, schön southern-inspirierte, melodische "Millhouse girl", das exzellente, southern-bluesige, semi-akustische Duett "Uncharted" mit der Singer/Songwriterin Maia Sharp, die das Album auch produzierte, das rootsige, sehr melodische, mit tollen Gitarren umgesetzte "Anywhere I'm going" oder die akustische, dezent swampige Ballade "The lucky one", bei der im übrigen Kumpel Warren Haynes mit ein paar "Acoustic Slide"-Zupfern seine Aufwartung macht, belegen das eindrucksvoll. Edwin McCain ist musikalisch noch immer ganz der Alte geblieben - und das ist gut so. "Mercy bound" ist ein zweifelsfreier Nachweis für seine blendende Verfassung.

Das komplette Tracklisting:

1 The Boy Who Cried Love - 3:25
2 Mercy Bound - 5:03
3 Sober - 5:25
4 Boom - 4:24
5 Anywhere I'm Going - 2:57
6 My Judas - 3:32
7 Strange Angel - 3:41
8 Uncharted - 3:41
9 Better Story to Tell - 4:08
10 Millhouse Girl - 3:35
11 The Lucky One - 4:30

Art-Nr.: 7539
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
The boy who cried love
Sober
Boom
Anywhere I'm going
Better story to tell
Millhouse girl
The lucky one

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McCain, Edwin - tinsel & tap shoes ~ live ~ dvd & bonus cd [2004]
DVD & 5-Track Bonus CD! Singer/Songwriter und Warren Haynes-Kumpel Edwin McCain samt seiner großartigen, 5-köpfigen Band mit einer wundervollen Live-DVD! McCain ist mit seinem gefälligen, so herrlich melodischen, zuweilen von einer frischen Southern-Brise umhüllten Midwestern-/Heartland-/Roots-Rock-Pop in den Staaten längst kein Geheimtipp mehr. Gerade bei seinen Konzerten erfreut er sich einer immer größer werdender Beliebtheit. Zurecht! Eindrucksvoll dokumentiert wird das Ganze jetzt mit dieser tollen Live-DVD (+ Bonus-CD mit fünf Live-Stücken), die im House Of Blues in Myrtle Beach, seinem Heimatstaat South Carolina, während der aktuellen "Scream & whisoper"-Tour aufgenommen wurde.Nicht nur das anwesende, sehr textsichere Publikum ist schier begeistert, nein, auch als Heim-Betrachter dieses Werkes kommt man voll auf seine Kosten und ist sicher stark beeindruckt. Diese locker und völlig unverkrampft vorgetragenen, herrlichen Songs, mit ihren Wahnsinns-Melodien erzeugen eine absolut angenehme Stimmung. Trotz einer hohen Anzahl von Besuchern verbreitet sich im Saal so etwas wie Wohnzimmer-Atmosphäre, und das nicht nur wegen der auf der Bühne ausgelegten, orientalischen Teppiche. Die Burschen präsentieren ihre musikalischen Arrangements mit nahezu blindem Verständnis. Auch wenn Edwin McCain und sein exzellenter Lead-Gitarrist Larry Chaney die dominierenden Persönlichkeiten des Abends darstellen, muss man hier von einer glänzenden Mannschaftsleistung sprechen. Ein kleiner Einblick in die Setlist: Vom leicht psychedelisch-angehauchten Opener „My Mystery“ an, jagt in der Folgezeit ein Ohrwurm den nächsten. "Coming Down" mit seinem hinreißenden, flüssigen Southern-Feeling, "Shooting Stars" mit so etwas wie James Taylor meets U2-Flair, "Couldn’t Love You More" als liebevolle Widmung an die Ehefrau, "Say Anything", eine prächtige semi-akkustische Ballade, bei der sich Edwin's Stimme voll entfalten kann, bis hin zu ihrem größten Hit "I’ll Be", der das Hauptprogramm abschließt. Da bleiben keine Wünsche offen. Zwischendurch macht der Frontmann seinem Ruf als Storyteller immer wieder alle Ehre und gibt die ein oder andere Anekdote zum Besten. Ganz stark auch "Sign The Door", ein Slow-Blues mit phantastischen Sax- und E-Gitarrenparts oder "Beautiful Life", ein Midtemposong, in dem sich der zweite Gitarrist Pete Railey einmal richtig ausleben kann, und wo sogar am Ende in Thin-Lizzy-Manier mit Larry Chaney zweistimmig agiert wird. Als Zugabe gibt es den Rod-Stewart-Klassiker „Maggie Mae“, der Edwin McCain mit seiner sanft-kratzigen Röhre natürlich gesangstechnisch auf den Leib geschnitten ist. Ein wirklich glänzendes, 90-minütiges Konzert in einer durchweg entspannten Atmpsühäre (viele, allerdings knackige Balladen) - ein Auftritt, der aufgrund seiner variablen musikalischen Darbietung vollends überzeugt. Von Blues-, Heartland-, Pop-, Southern- Roots, bis Jam-Rock-Pop-Elementen wird ein recht breites Spektrum abgedeckt. Als Bonusmaterial gibt es noch ein paar Statements aller beteiligten Musiker, sowie einen Einblick in den Tourbus "The Black Pearl" vom Meister persönlich, wie auch eine klasse 5-Track Bonus-CD vom gleichen Konzert, wobei zwei Stücke dort ("Sorry to the friend" und "Solitude") nicht auf der DVD enthalten sind! Bild und Tonqualität sind hervorragend! Dazu kommt das Set in einer klasse Digipack-Verpackung, nicht im länglichen DVD-, sondern im CD-Format! Die DVD ist "code free" und somit auf allen gängigen Geräten abspielbar! (Daniel Daus)

Art-Nr.: 2998
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: DVD || Preis: € 19,90

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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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