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Allman Brothers Band, The - stand back: the anthology [2004]
2 CD-Set! Die Allman Brothers gelten unbestritten als die Pioniere des Southern Rocks, ohne deren Eindluß sich diese Musik wohl hätte nie so entwickeln können, wie sie es tat. Zum einen erlebt dieses Genre momentan eine Art Re-Vitalisierung, zum anderen, auch das bestätigt diese These, agieren die Allman Brothers zur Zeit so lebendig und frisch, wie schon lange nicht mehr. Ein passender Zeitpunkt also für die Veröffentllichung einer neuen Anthology, und zwar der ersten, die ihre komplette, 35-jährige, alle Labels umfassende Karriere abhandelt, vom 1969iger Debut bis zum aktuellen Studiowerk "Hittin' the note"! Die erste CD handelt die frühen Jahre, bis 1972 ab, die zweite CD den Rest bis zur Gegenwart! Sehr gut ausgewählte Titelauswahl von insgesamt 32 Songs mit einer Spielzeit von deutlich über 2 1/2 Stunden! Ein Auszug der Tracklist: "It's not my cross to bear", "Trouble no more", "Dreams", "Revival", "Midnight rider", "Hoochie Coochie man", Melissa", "Stand back", "Blue sky", "Wasted words", "Ramblin' man", "Southbound", "Can't lose what you never had", "Crazy love", "Hell & high water", "Seven turns", "End of the line", "High cost of low living" und viele andere! Alle Songs sind "newly remastered"! Enthält ein 24-seitiges Booklet mit interessanten Liner-Notes zur Band-Geschichte von Scott Schinder! Klasse Teil! Für die Fans sowieso Pflicht, und für die, die es noch werden wollen gibt es keinen idealeren Einstieg!

Art-Nr.: 2483
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 22,90

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

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

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

Das komplette Tracklisting:

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

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

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Avett Brothers, The - live vol. four [2015]
CD & DVD-Set! Die gefeierten, einzigartigen Avett Brothers mit einem neuen, famosen Live CD-/DVD-Combo-Set! Mit dem großartigen "Live Vol. Four" setzen sie die Tradition ihrer regelmässigen Live-Veröffentlichungen fort, was auch mehr als Sinn macht, denn diese Roots-, Neo Folk-, Americana-Truppe aus North Carolina ist eine grandiose Live-Formation, die bis in die Jamrock-Szene hinein eine gewaltige Fanschar genießt. Bei dem hier vorliegenden Gig handelt es sich um die umwerfende Silvester-Show vom 31.12.2014 aus der prall gefüllten PNC-Arena in ihrer Heimatstadt Raleigh/North Carolina, die sowohl für die Musiker, als auch für das Publikum (sehr schön, wie zum Jahreswechsel Tausende von Luftballons in der Arena niedergehen) zu einem ausgelassenen Neujahrs-Happening avancierte. Enthält u. a. ein klasse Cover von Thin Lizzy's "The boys are back in town". Die Truppe ist in Höchstform - soundtechnisch und auch bildtechnisch bravourös eingefangen. Tolles Teil! Die DVD ist "code free" und somit auf jedem DVD-Player abspielbar.

Die komplette Setlist (CD und DVD identisch):

1. Intro/Feeling Good - 1.41
2. Satan Pulls the Strings - 7.39
3. Laundry Room - 6.00
4. Another is Waiting - 2.13
5. Shame - 4.17
6. Kick Drum Heart - 5.24
7. Rejects in the Attic - 6.31
8. Ten Thousand Words - 6.24
9. Talk On Indolence - 6.58
10. Auld Lang Syne - 4.47
11. The Boys are Back in Town - 5.25
12. Slight Figure of Speech - 7.00
13. I and Love and You - 5.34
14. Happy Trails - 2.29

Art-Nr.: 9064
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 21,90

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Big & Rich - hillbilly jedi [2012]
Big & Rich are back! Fast fünf Jahre sind seit ihrem letzten Album "Between Raising Hell And Amazing Grace" vergangen. Die beiden hatten sich eine Auszeit genommen, um einerseits zu regenerieren, andererseits aber auch die Arbeit an ihren Solo-Projekten voranzutreiben. Zwar war der eine oder andere sporadische Erfolg mit dabei (zum Beispiel John Rich's fabelhaftes Album "Son of a preacher man" mit der herausragenden Single "Shuttin' Detroit Down"), aber so richtig erfolgreich und gut sind John Rich und Big Kenny, wenn man ehrlich ist, eigentlich nur im gemeinsamen Verbund. Das demonstrieren sie aufs Neue sehr eindrucksvoll auf ihrem branaktuellen Werk "Hillbilly Jedi", auf dem sie wieder ein absolutes Feuerwerk an hitträchtiger New Country-"Comedy" entfachen (mit "Comedy" meinen wir die typischen, wunderbar "verrückten" Einfälle, die sie immer wieder mal in ihre großartigen Songs einbauen) und mit genauso rockigem, wie auch balladesken, immer melodischem Liedgut überzeugen. Stärker waren sie seit ihrem Debüt in 2004 wohl nie. Allein schon das aufwendige, mehrfach aufklappbare Coverartwork (mit allen Texten), das diese beiden abgefahrenen "Hillbilly Jedis" vor galaktischer Cowboykulisse in herrlich durchgeknallten Posen porträtiert, ist schon eine dicke Würdigung wert. Ein echter Hingucker! Und auch die Musik knüpft nahtlos an die etwas verrückt klingende Thematik an. So sind sie halt, ohne Spaß gäbe es dieses Duo wohl nicht. Die CD beginnt direkt mit einem "Hammer". Jon Bon Jovi und Richie Sambora werfen beim Opener "Born Again" den Ball zurück, den Big & Rich ihnen auf ihrem damaligen "Lost Highway"-Album zugespielt hatten (da hatten die Vier "We Got It Going On" gemeinsam komponiert und Big & Rick auch tatkräftig gesangstechnisch mitgewirkt). Wieder hören wir eine gemeinsame Kreation, bei der Jon eine Strophe singt und Richie ein baumstarkes E-Gitarren-Solo abliefert. Rockt richtig fett! Auch das später folgende, sehr melodische "Can’t Be Satisfied" stammt aus der gemeinsamen Feder. Wie richtige Cowboys ordentlich feiern, zeigt dann das folgende "Party Like Cowboys", ein typischer, abgefahrener Countrystampfer mit der für sie typischen, kleinen Rap-Einlage im Bridge. Gleiches gilt für Tracks wie "Rock The Boat" und "Get Your Game On", bei denen der sich schon immer in Big & Rich-Dunstkreis befindliche Cowboy Troy seine Sprecheinlagen zum Besten gibt. Alles Stücke, die mächtig Dampf entfachen und jede Menge gute Laune verbreiten. Zudem wurde das Material von Produzent Dann Huff (auch an den Keyboards und der E-Gitarre mit teilweise grandiosen Soli vertreten) und den vielen Klassemusikern (u. a. Chris McHugh, Greg Morrow, Jimmie Sloas, Mark Hill, Danny Rader, Adam Shoenveld, Tom Bukovac, Jonathan Yudkin, Paul Franklin, Eric Darken, Charlie Judge) absolut anspruchsvoll und kraftvoll in Szene gesetzt. Aber auch die ruhigere Seite des Duos birgt ihre Reize - und zwar sehr eindrucksvoll. Stücke wie "That’s Why I Pray" (unwiderstehlich und auffallend stark hier ihr unverwechselbarer, zweistimmiger Lead-Gesang), der ersten Single "Lay It All On Me" (kletterte bereits hoch in die Billboard Country Singles-Charts), "Last Words", "Cheat On You" (starke Powerballade) oder der schon fast mit Roy Orbinson-Flair umgarnte Schwofer "Never Far Away" bieten feinste Melodik pur. Trotzdem hat man immer irgendwie das Gefühl, hier wären Wölfe im Schafspelz zugange. Irgendwann bricht dann doch wieder ihre Power, die Dynamik und der Hang zum ausgelassenen Abfeiern durch. Und wenn die beiden dann mit "Cause I Play Guitar" einen Honkytonk-trächtigen (klasse Piano von Charlie Judge) Southern Rocker vom Stapel lassen (herrliche E-Gitarrenarbeit von Adam Shoenveld, Tom Bukovac und Dann Huff - letzgenannter mit großartigem Solo), fällt einem "glatt die Kinnlade runter". Saustark! Ganz verrückt wird es am Ende, wenn die Herren den Titeltrack in einem Medley zelebrieren. Das ist dann der reinste Klamauk. Der erste Teil bietet Musik schon fast im Stil der Comedian Harmonists (auf dem Countrytrip) und geht dann fließend über in Dixieland-Jazz-artige Sphären (mit Klarinette, Posaune und Trompete) - Big & Rich in ihrem Element. Völlig unberechenbar. Mit "Hillbilly Jedi" (Jon Bon Jovi, auf den Albuntitel angesprochen, sagt: "Hillbilly Jedis? That’s it. I’d buy that shirt!") kehren Big Kenny & John Rich nach längerer Pause mit Vehemenz auf die New Country-Bühne zurück. Das Werk bietet sowohl Spaß als auch Einkehr mit reichhaltiger Abwechslung und Kurzweiligkeit auf höchstem musikalischen Niveau. Big & Richs "Hillbilly Jedi" - das ist galaktisch starker New Country ohne jeden Durchhänger! (Daniel Daus)

Das komplette Tracklisting:

1. Born Again - 3:54
2. Party Like Cowboyz - 3:35
3. That's Why I Pray - 4:00
4. Lay It All on Me - 4:22
5. Last Words - 2:59
6. Rock the Boat - 4:04
7. Can't Be Satisfied - 4:07
8. Get Your Game On - 3:32
9. 'Cause I Play Guitar - 3:33
10. Cheat on You - 3:15
11. Never Far Away - 4:24
12. M-E-D-L-E-Y of the Hillbilly Jedi - 5:48

Art-Nr.: 7931
Gruppe: Musik || Sparte: Country
Status: Angebot || Typ: CD || Preis: € 8,90

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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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Carpenter, Mary Chapin - ashes and roses [2012]
"Ashes and roses" bietet eine Ansammlung von 13 exzellenten, neuen Songs im typischen Stil dieser fantastischen Singer-Songwriterin, zwischen Americana und Country - und zwar auf höchstem Nieveau. "Soul companion" beispielsweise ist ein großartiges Duett mit James Taylor. Wunderbar!

Hier ein U.S.-Review im Original-Wortlaut:

On Ashes and Roses, songwriter Mary Chapin Carpenter offers the most confessional record of her career. Always a storyteller whose protagonists could be seamlessly interchanged with the first person, that distance shrinks here; all that's left is the songwriter confronting herself in a mirror. Carpenter examines heartbreak, grief, loneliness, yearning, acceptance, gratitude, and new possibility with a gaze brimming with self-respect and compassion. Musically, the sound here is akin to 2010's Age of Miracles, but perhaps even softer. "Soul Companion," the single that features James Taylor, is not necessarily indicative of this set's sound, nor its greatest strength. The rootsy fingerpicking on "What to Keep and What to Throw Away" is a deep reflection on the one-foot-in-front-of-the-other kind of collecting oneself after the end of a relationship that leaves one devastated: "...These are your instructions/When grace has left you stranded/When you are lost and wounded/Bleeding and abandoned." The personal cost of betrayal is poetically and poignantly rendered in "The Swords We Carried." Carpenter's language, both musical and lyrical, though rich in melody, color, texture, poetic metaphors, and images, never flinches from looking at her subject squarely. With its shimmering mandolins, B-3, and acoustic guitars, "Chasing What's Already Gone" looks through the past to make sense of the present. She gets there, but there's a cost; she willingly pays it and holds herself accountable at the song's conclusion: "Ashes and roses and hearts that break/I tried so hard to be strong/It may be my worst but not my first mistake/Chasing what's already gone." This is the sound of the human heart at a time of reckoning, embracing its brokenness with gentleness. The embrace of grief is observed tenderly on "Learning the World," where it "rides quietly on the passenger side." But there is another side here, too; it's expressed in the resilience in "Don't Need Much to Be Happy," the yearning in "Old Love," and the acceptance that possibility awaits in "New Year's Day." Carpenter is accompanied only by producer Matt Rollings' piano on the closer, "Jericho," where she speaks to an Other about how long it will take to get to know her and how worth it that will be. Ashes and Roses is devastating in its quiet yet dignified and fierce vulnerability. Its courage makes it something singularly beautiful. Musically and lyrically, it is likely to be among her most enduring recordings. ~ Thom Jurek, Rovi

Das komplette Tracklisting:

1. Transcendental Reunion - 4:48
2. What to Keep and What to Throw Away - 4:34
3. The Swords We Carried - 4:06
4. Another Home - 4:29
5. Chasing What's Already Gone - 4:59
6. Learning the World - 4:29
7. I Tried Going West - 4:17
8. Don't Need Much to Be Happy - 4:23
9. Soul Companion - 4:02
10. Old Love - 4:46
11. New Year's Day - 4:55
12. Fading Away - 4:21
13. Jericho - 4:03

Art-Nr.: 7823
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 15,90

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Church, Eric - chief [2011]
Was für ein interessantes, innovatives, prächtiges Country-/New Country-/Countryrock-Album! Genauso mutig wie erfrischend! Eric Church zeigt mit seinem dritten Album auf beeindruckende Art und Weise, wie man New Country-Musik mit neuen, nicht unbedingt alltäglichen Klangtupfern und Arrangements auf einen modernen, dem Jahre 2011 entsprechenden, zeitgemässen Level bringen kann, ohne die Grundwerte der Countrytraditionen zu ignorieren. Ein "abenteuerliche" (das meinen wir ausschließlich positiv) Gratwanderung, die er mit Bravour meistert. Tolle Sounds! Erinnert in seinem Mut und in seiner Experimintierfreudigkeit an die Anfänge von Big & Rich, nur nicht so verrückt. Das Songmaterial ist durchweg exzellent! Die Songs sind durchweg wunderbar melodisch und bleiben klasse hängen. Eine bärenstarke Vorstellung von Church!

Dazu noch ein Original-Statement:

"To some modern country artists, the words critics are using to describe Eric Church's third studio album may seem off-putting, but to the trailblazing mutineer and his equally passionate fans, the terms: "strange," "aggressive," "wild," and "rare," couldn't be more complimentary. Church's third studio album, Chief, has been buzzing as the most experiential, head-turning country album of the year."

Das komplette Tracklisting:

1 Creepin' - 3:52   
2 Drink in My Hand - 3:11   
3 Keep On - 2:38   
4 Like Jesus Does - 3:18   
5 Hungover & Hard Up - 2:53   
6 Homeboy - 3:47   
7 Country Music Jesus - 3:52   
8 Jack Daniels - 5:04   
9 Springsteen - 4:23   
10 I'm Gettin' Stoned - 4:02   
11 Over When It's Over - 2:39

Art-Nr.: 7490
Gruppe: Musik || Sparte: 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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Cyrus, Billy Ray - it won't be the last [1993]
1.In the Heart of a Woman - 4:00
2.Talk Some - 4:15
3.Somebody New - 3:45
4.Only Time Will Tell - 3:21
5.Ain't Your Dog No More - 2:28
6.Words by Heart - 3:07
7.It Won't Be the Last - 3:49
8.Throwin Stones - 3:40
9.Right Face Wrong Time - 3:27
10.Dreamin' in Color, Livin' in Black and White - 4:17
11.When I'm Gone - 3:01

Art-Nr.: 4319
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 8,90

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Cyrus, Billy Ray - trail of tears [1996]
1.Trail of Tears - 3:41
2.Truth Is I Lied - 3:18
3.Tenntucky - 2:23
4.Call Me Daddy - 5:08
5.Sing Me Back Home - 3:37
6.Three Little Words - 4:14
7.Harper Valley P.T.A. - 4:10
8.I Am Here Now - 3:28
9.Need a Little Help - 5:08
10.Should I Stay - 4:38
11.Crazy Mama - 3:00

Art-Nr.: 4316
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 8,90

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Earle & The Dukes, Steve - j. t. [2021]
Ganz großartiges, bewegendes, neues Album von Steve Earle, zu Ehren seines am 20. August 2020 im Alter von nur 38 Jahren verstorbenen Sohnes Justin Townes Earle, der mittlerweile selbst zu einem mehr als bemerkenswerten, ja hoch geschätzten Singer/Songwriter der Americana-Szebe avanciert war. Dieses Tribute-Album enthält 10 Coverversionen von Justin Towne's Songs, ausgewählt aus dessen gesamter Schaffensperiode, alle interpretiert mit Steve's fantastischer Backing Band, den Dukes, in derem typischen, rauen, dreckigen Stil zwischen Americana, Rootsrock, Alternate Country und staubigem Outlaw Country. Als elften Track gibt es noch eine Eigenkomposition von Steve Earle, "Last words", ein emotionales Abschiedslied an seinen Sohn. Ein ganz tolles, erdiges Werk aus dem Hause Earle.

Das komplette Tracklisting:

1. I Don't Care - 1:54
2. Ain't Glad I'm Leaving - 2:52
3. Maria - 2:46
4. Far Away In Another Town - 3:06
5. They Killed John Henry - 2:34
6. Turn Out My Lights - 2:35
7. Lone Pine Hill - 2:43
8. Champagne Corolla - 3:35
9. The Saint of Lost Causes - 5:01
10. Harlem River Blues - 3:10
11. Last Words - 4:21

Art-Nr.: 10277
Gruppe: Musik || Sparte: Rock; Country
Status: Neuheit || Typ: CD || Preis: € 15,90

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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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Evans, Sara - words [2017]
Klasse neues Album von Sara Evans. Nach vielen Turbulenzen, sowohl im privaten, als auch musikalischen Bereich, hat sich Sara Evans von ihrem bisherigen Major-Label getrennt und veröffentlich "Words" nun auf ihrem eigenen Label "Born To Fly", vertrieben von einem unabhängigen Distributor. Die neu gewonnene, musikalische Freiheit bekommt ihr hörbar gut, denn ihr neues Werk wirkt frisch und unverbraucht. Sie spielt genau die Songs, die sie spielen möchte, frei von jedem Mainstream- und Erfolgsdruck, einfach nur der Musik willen. Das gelingt großartig.. Bester Country/ New Country einer erstklassigen Sängerin mit neu gewonnener musikalischer Freihet. Stark!

Hier noch ein Originbal U,S.-Review zu dieser klasse Veröffentlichung:

Sara Evans returns after three years away with 14 new songs to showcase who she is as a mother, wife, lover, fighter and business woman. Chasing the mainstream can be a hard thing for a successful artist when they have had a handful of hits and released records which cracked the mainstream zeitgeist. Like Lee Ann Rimes did with Remnants earlier this year, Sara Evans has decided to independently release Words on her own label (Born To Fly Records) and it finds her refreshed and sounding better than she did on her past couple of releases (even if she did get one more great hit in "A Little Bit Stronger" from that era). Instead of chasing whatever sounds the mainstream has, we have Sara in contemplative balladeer mode throughout the Majority of Words and this is truly where Sara and her distinctive alto shine.
Midtempo "Diving In Deep" reminds me of Paul Simon's "Graceland" musically with some afro-centric percussive melodies serving as the anchor for Sara Evans to sing about falling in love with all the gusto that we always do when in a relationship ("when all is fair in love in war, the consequence I will ignore because this time I'm diving in deep," she sings). "I Don't Trust Myself" is a moody song about being self-aware enough to not fall back into old routines while "I Want You" is a sweet, soaring alternative to "I Don't Trust Myself." Fans of the earlier catalog from Sara Evans, will certainly find moments to enjoy here with the rootsy "Make Room At The Bottom" (co-written by Ashley Monroe), "I'm On My Way" and album opener "Long Way Down" while "Marquee Sign," one of three songs co-written by Sara Evans herself, showcase the singer's pen is still sharp. The song also showcases harmonies from her daughter Olivia. The title track, "Words," feels like a long-lost Emmylou song and "Night Light" features family harmony from Sara Evans three siblings Matt, Lesley and Ashley. Finally, "Letting You Go," is a song any parent can relate to as they watch their children grow up and go away and become adults themselves. It's a beautiful song and a strong closer (though, really, the acoustic version of "A Little Bit Stronger" serves as the real closer here).
It's often hard for stars to know when the time is right to stop chasing mainstream radio and it gets even harder for them to do that if they strive for a career in the independent realm. On some ways, you could listen to Sara Evans new, independently-released Words album and feel like she's chasing a train she'll never catch but the reality is that this is a record for a fans and if she does get some mainstram radio success, awesome, but if not, that's OK too because, hits or not, Words is the record of her career. (Matt Bjorke/Roughstock)

Das komplette Tracklisting:

1. Long Way Down - 4:14
2. Marquee Sign - 4:01
3. Diving in Deep - 2:36
4. All the Love You Left Me - 4:17
5. Like the Way You Love Me - 3:05
6. Rain and Fire - 3:38
7. Night Light - 3:38
8. I Need a River - 4:22
9. I Don't Trust Myself - 3:34
10. Make Room at the Bottom - 3:12
11. Words - 2:48
12. I Want You - 3:41
13. Letting You Go - 4:11
14. A Little Bit Stronger (Acoustic Version) - 4:38

Art-Nr.: 9478
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 14,90

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Fish, Samantha - faster [2021]
"Faster" heißt das neue, fabelhafte Werk der grandiosen Gitarristin, Sängerin und Songwriterin aus Kansas City/Missouri, die seit 2012 mit ihrem Debutalbum "Runaway" die Bluesrock-Welt so richtig aufmischt. So jedenfalls leiteten wir vor 9 Jahren das Review ihres ersten Albums ein - es war der Startschuß zu einer blendenden Karriere. Nun, 6 weitere, großartige Alben und unzählige Awards später, gilt Samantha Fish als so etwas wie die Queen des Bluesrocks, ist in der Szene höchst anerkannt und wird allerorten, von Medien und Fans gleichermaßen, als brillante Vollblut-Musikerin begeisternd und wertschätzend gefeiert. Man kann ihre vielen Talente auch gar nicht hoch genug bewerten. Sie ist eine fantastische Gitarristin, aber auch eine exzellente Songwriterin und Sängerin und nicht zuletzt bekannt für ihren "aufregenden" Live-Performances. Zudem gilt sie als leidenschaftlich, äußerst ehrgeizig und innovativ, immer wieder bereit etwas Neues auszuprobieren und sich auch anderen Genres zu öffnen, ohne ihre Verwurzelung zum Blues und Rock je zu leugnen. Dies traf auf das sehr Roots- und Soul-orientierte, prächtige Vorgängerwerk "Kill or be kind" genauso zu, wie es jetzt auch wieder auf das enthusiastische, voller Power und Feuer steckende "Faster" zutrifft. Ihre Musikalität ist einfach umwerfend. Sie kombiniert ihre auch während dieses Album stets präsenten, kernigen Blues- und Rock-Roots mit einigen exzellenten, sehr spannenden, modernen, intelligenten und gut passenden, kreativen Pop-Klängen, die ein furioses, rundum gelungenes, "hippes" Ganzes ergeben, das toll zusammen passt und mächtig Laune macht. Einfach herrlich, wenn sie poppige Grooves und ein paar effektive, nie zu überdosierte, gut ausbalancierte elektronische Klänge mit ihren knallharten, straighten Gitarrenriffs und/oder einem kurzen, fetten, kratzigen Solo veredelt. Eine klasse Kombination. Heiß, sexy, rockig, gekonnt! Das Songmaterial ist durchweg klasse, bleibt prächtig hängen. Produziert hat Martin Kierszenbaum (Lady Gaga, Sting), der auch bei einer Vielzahl von Songs kompositorisch beteligt ist und Piano, Keyboards, Percussion, sowie zusätzlich Gitarre spielt. Unter den weiteren Musikern befinden sich Drummer Josh Freese (Guns N’ Roses, Nine Inch Nails, The Replacements) und Bassist Diego Navaira (The Last Bandoleros), sowie bei dem Song "Loud" mit einem überraschenden Gastauftritt der Rapper/Singer-Songwriter Tech N9ne. Das Resultat ist einfach ein tolles, rockiges, powerndes, heißes Album großartiger, in ihrer Basis durchaus bluesiger, flippiger, scharfer Musik mit einer musikalisch grenzenlos offenen, bestens aufgelegten Samantha Fish. Richtig starker Auftritt!

Das komplette Tracklisting:

1. Faster - 2:55
2. All Ice No Whiskey - 3:09
3. Twisted Ambition - 3:14
4. Hypnotic - 3:09
5. Forever Together - 2:54
6. Crowd Control - 4:17
7. Imaginary War - 3:09
8. Loud (feat. Tech N9ne) - 4:53
9. Better Be Lonely - 3:40
10. So-Called Lover - 3:05
11. Like A Classic - 3:47
12. All The Words - 4:35

Art-Nr.: 10386
Gruppe: Musik || Sparte: Rock
Status: Neuheit || Typ: CD || Preis: € 15,90

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Garcia, Jerry & Merl Saunders - garcia live vol. 12: january 23rd 1973, the boarding house [2019]
3 CD-Set! Zwölfter Teil der beliebten GarciaLive-Reihe. Mitgeschnitten von den berühmten Grateful Dead Archivisten Betty Cantor und Rex Jackson gibt es diesmal eine grußartige, bislang unveröffentlichte Performance von Jerry Garcia und Merle Saunders mit ihrer Band (mit Bassist John Kahn und Drummer Bill Vitt, plus Gastsängerin Sarah Fulcher) aus dem Boarding House in San Francisco, CA vom 23. Januar 1973. Rares Songmaterial! Die Deadheads freut's!

Die offizielle Produktbeschreibung:

GarciaLive Volume 12: January 23rd, 1973 The Boarding House presents Jerry Garcia and Merl Saunders’ complete and previously uncirculated performance at the storied downtown San Francisco venue. Mixed by Jonathan Wilson and Dave Cerminara from the original 16-track recordings captured by Betty Cantor and Rex Jackson.
Captured nearly two years after debuting their amorphous combo, GarciaLive Volume 12 finds Garcia and Saunders continuing to stretch the bounds of R&B standards and foundational rock & roll on the front-end of a three-night midweek run. The core of Garcia, Saunders, bassist John Kahn and drummer Bill Vitt are joined here by vocalist Sarah Fulcher whose tenure with the group was brief but revolutionary. Cut from the same cloth as her bandmates, Fulcher is a fearless improviser who could make up words and lead lines in the moment. On a rollicking version of Martha and the Vandellas’ “Honey Chile”, Fulcher showcases her abilities as a self-described “jam singer” leading, as Jesse Jarnow notes in the liner note essay, an "ebullient jam that turns the Motown bounce inside out and lands in a lithe descending pattern not dissimilar to what Dead tapers labeled the “Mind Left Body” theme.” Other highlights include a pair of Ray Charles staples “Lonely Avenue” and “Georgia On My Mind” which showcase the band’s ability to play it “straight.” Straight of course is relative with Garcia/Saunders & co extending these soul-soaked performances well beyond the 10 minute mark as only they can.

Die komplette Setlist:

Disc 1:
1. Expressway (To Your Heart) - 15:07
2. It’s Too Late - 7:33
3. The System - 20:03
4. Honey Chile - 13:49
5. Money Honey - 7:36

Disc 2:
1. I Know It’s A Sin - 10:25
2. Find A Rainbow - 11:38
3. The Night They Drove Old Dixie Down - 6:09
4. It Takes A Lot To Laugh, It Takes A Train To Cry - 8:16
5. I Was Made To Love Her - 12:09
6. Lonely Avenue - 12:29
7. Go Climb A Mountain - 14:24

Disc 3:
1. That’s All Right, Mama - 11:18
2. Georgia On My Mind - 15:18
3. I Second That Emotion - 11:59
4. How Sweet It Is (To Be Loved By You) - 8:06

Art-Nr.: 9969
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 23,90

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