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Barras Band, Kris - light it up [2019]
"Hard hitting, down 'n' dirty, oil stained blues rock". Ein zu 100% passender Slogan, mit dem das Label der gewaltig aufstrebenden und bei den Fans schon mächtig hoch im Kurs stehenden, britischen Kris Barras Band deren großartiges, drittes Album "Light it up" bewirbt. Das Teil ist ein echtes "kick-ass" Bluesrock-Pfund! Kris Barras, ehemaliger, durchaus erfolgreicher Martial Arts-Kämpfer, ist ein meisterhafter "guitarslinger", toller Sänger und Songwriter, einfach ein charismatisch rockender Frontmann. Er und seine höchst kompetenten Mitstreiter begeistern mit ungemein kernigem, fettem, klassischem Blues-based Guitar-Rock, voller Drive und Energie - straight, kompakt, ohne Schnörkel auf dem Punkt, mit großer musikalischer Klasse und starken Melodien, prächtig hängen bleibend. Da sind Einflüsse von Led Zeppelin, den Stones, Howlin' Wolf, Deep Purple und Free wahrnehmbar, genauso wie von The Black Crowes und Kenny Wayne Shepherd, oder jüngeren Acts wie den Rival Sons und Black Stone Cherry, die die Kris Barras Band hervorragend zu ihrem ganz eigenen Ding verarbeitet. Wow, und das rockt einfach herrlich. Immer wieder streut Barras, exzellente, voller Feuer steckende, satte Gitarrensoli ein und vermischt sie mit krachenden "burning power riffs". Bis auf ein, zwei, etwas "ruhigeren", aber immer noch durchaus erdigen Balladen, geht das Songmaterial ordentlich nach vorn. Mit der Kris Barras Band rückt ein neues, modernes Bluesrock-Schwergewicht in den Mittelpunkt der aktuellen UK-Bluesrock-Szene, von der wir noch viel hören werden. "Light it up" jedenfalls macht mächtig Laune. "Rock it out loud, boys"...

Hier noch ein Original U.S.-Review:

The sky still appears to be limitless for the Kris Barras Band, as the widely-lauded UK rockers drop their fearsome new release, Light It Up.
Hype can be a dangerous thing. Not enough and even genius musicians can’t fill a phone booth. Too much and you’re likely to flameout when pushed to levels and venues you’re not quite ready for. Kris Barras and his band have been the recipients of a lot of hype and high expectations and, so far, it has all just been fuel for their collective fire. If this new album is any indication, there is little risk of a flameout happening any time soon.
When you start with the already tight and road-hardened three-piece; Barras on vocals and guitar, Elliott Blacker on bass and the ever-steady Will Beavis on drums, occasionally layer in some well-placed keyboards from Josiah J. Manning and add some thrilling background vocals, then apply it all to Barras’ still-evolving heart-on-his-tattooed-sleeve songwriting, you best believe the hype. Coming close on the heels of 2018’s rollicking The Divine and Dirty, this album is a worthy follow-up that finds a songwriter and a band further dialing in their sound and vision while still setting their sights ever higher.
Album opener “What You Get” will one day be referred to as “Classic Barras” with its swamp-rock feel, fiery guitar break, and big chorus. Keeping things on the hard side “Broken Teeth” is as gritty and stomping as the title would have you expect, with the added bonus of an unexpected banjo weaving through the background. You also don’t want to miss the fat keyboards and the nice bit of rave-up at the end, an instant mosh pit creator. The groovier “Vegas Son” draws you in with some Texas blues-style riffage.
Title track “Ignite (Light it Up)” is a standout. Powered by an undeniable opening riff and some upfront keyboards, Barras digs deep on both the vocals and a remarkable guitar solo section. This is a tune that could open or close a set. Either way, it’ll bring down the house. That sneaky banjo comes back to weave its way through “6AM” which automatically gives a Southern Rock feel to what would otherwise be almost a 70s style Deep Purple rocker. After all that bombast, the gentle, organ-driven ballad “Rain” is almost shocking in its tenderness; an indication of Barras’ development as a songwriter and hint at some of the other directions this band will be exploring in the future. The band then goes full 80s on “Counterfeit People.” While the lyrics are Barras at his usual direct and strident, the song swings with an almost nostalgic style and tone that would make Huey Lewis fans smile.
We go all the way back to the hoodoo swamp on the intro to “Let The River Run Through You.” With a picking-style guitar riff holding things together and big background vocals on the chorus’ to contrast the stripped-down verses, this tune is a dynamic journey through day and night, light and shadow. Two certified, but fundamentally different, rockers follow. “Bullet” is a red-hot Southern Rock furnace blast while “Wound Up” rolls out like a molasses-flavored Black Crowes song minus Chris Robinson’s slinky hips. You can’t have a rock album like this without some, make that plenty of ….cowbell, and “What A Way To Go” is a power/party rocker that rides that cowbell and a tough-grinding keyboard riff hard. Rarely does a song make you want to bang your head andsmile.
As we get close to the end of the collection, Barras and the band pull out all the stops on “Not Fading,” an intricate and at times dizzying display of the kind of super-tight, mind-meld musicianship that only happens when every member of a group is on the exact same mental page, thanks to a lot of gigs and touring. They take a surprisingly mellow (for them) turn on closing track “Pride is Forever.” But the slower tempo does nothing to diminish the big sound and the big feeling of some of Barras’ signature ‘personal strength anthem’ lyrical ideas. Closing the song by letting the backing vocals turn it loose makes the final fade-out feel like the end of a successful tent revival.
The elevator is still going up for the Kris Barras Band.
(Tom O’Connor / Rock and Blues Muse)

Das komplette Tracklisting:

1. What You Get - 3:26
2. Broken Teeth - 3:41
3. Vegas Son - 3:42
4. Ignite (Light It Up) - 3:16
5. 6AM - 3:45
6. Rain - 3:59
7. Counterfeit People - 3:29
8. Let The River Run - 3:45
9. Bullet - 3:28
10. Wound Up - 3:16
11. What A Way To Go - 3:17
12. Not Fading - 3:43
13. Pride Is Forever - 4:02

Art-Nr.: 9884
Gruppe: Musik || Sparte: Rock
Status: Neuheit || Typ: CD || Preis: € 16,90

In folgende Titel können Sie reinhören:
What you get
Vegas son
Ignite (Light it up)
Rain
Let the river run
Wound up
Not fading
Pride is forever

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Bentley, Dierks - the mountain [2018]
Dierks Bentley kommt mit einem neuen, fantastischen Album. Was dieser Mann auch abliefert, es sind stets absolute Highlights einer heute leider ansonsten oftmals allzu "fremdelnden" Nashville-Countrywelt. Klar, auch Bentley's Musik ist modern, muß sie ja auch sein. Doch er vergißt niemals seine Roots, niemals die Wurzeln der Countrymusic, niemals diese unwiderstehliche, natürliche Country-Frische. Hochklassige Songs, mal duraus ein wenig poppig, mal rockig, mal southern, mal dezent grassig - Dierks Bentley arbeitet sich genußvoll durch alle Facetten des New Country. Tolle Songs, tolle Melodien, tolle Musiker, tolle Arrangements - dieses Werk ist definitiv jetzt schon eines der Country-Highlights des Jahres.

Hier noch ein Original U.S.-Review:

Dierks Bentley returns to his roots for his ninth studio album, The Mountain. The singer wrote and recorded the project in Telluride, Colorado, after being inspired during a visit to Telluride Bluegrass Festival. As a result, the acoustic instrumentation on select songs coupled with Bentley’s heartfelt songwriting brings to mind elements of his 2010 release Up On the Ridge. All the while, Bentley’s authenticity shines through.
The Mountain kicks off with the standout “Burning Man,” featuring Brothers Osborne, where Bentley sings of life’s struggles and triumphs. Penned by Luke Dick and Bobby Pinson, Bentley makes the song uniquely his with slowed vocals and striking musicianship that is sure to come alive in the concert setting.
The heartfelt “Living” also strikes a chord as Bentley sings of how “some days you’re just breathing, just trying to break even” while others “your heart is pounding out of your chest.” This introspection is heard throughout the majority of The Mountain, particularly on album closer “How I’m Going Out.” Bentley’s vulnerability is further showcased on the striking ballad “My Religion,” as he sings of how loving a woman isn’t his decision but his religion. Meanwhile, “Son of The Sun” has the singer reflecting on his upbringing in Arizona and his need to embrace the desert air and escape the daily grind of life through nature.
On “Nothing On But the Stars,” Bentley switches gears as he looks back at the end of a relationship with the hope of one more night together. It’s here that his seductive vocals shine with distinct yearning while delicate percussion accompaniment and soaring guitar features further evoke the song’s message.
Bentley switches gears on “Goodbye in Telluride” with unique production and a rhythmic singing style. A positive spin on a breakup, while enjoying the snowcapped mountains of Colorado he senses his girlfriend won’t be around for much longer. Captivated by the setting, he begs her to wait a few more days before ending things so he can remember his visit fondly. “If you gotta let me go I’m gonna be alright / Just don’t tell me goodbye here in Telluride,” he croons on the infectious song.
While Bentley’s brief relocation to Colorado to write and produce The Mountain had an obvious impact on many of the songs, so does his family. His wife’s influence is felt on the heartfelt single “Woman, Amen” and within the equally memorable love song, “Stranger To Myself.” On the latter, he sings of how before Cassidy came along he was a stranger to himself. “Who I was back then is like an old forgotten song / You showed me who I am / You handed me the keys / And I unlocked the door to a better part of me,” he sings on the chorus.
One of the album’s highlights includes “Travelin’ Light,” featuring Brandi Carlile. The song’s acoustic instrumentation and Carlile’s captivating vocals pair well with Bentley’s. Sam Bush, Jerry Douglas, and Tim O’Brien also provide musical assistance on the song.
While Bentley has shown is ability at pushing genre lines over the years, on The Mountain he successfully returns to his roots. Having spent time in Colorado writing and recording the album, Bentley proves a master at finding inspiration within his surroundings and, as a result, transports the listener with him. Bentley’s talent as a songwriter and distinct musical influences merge throughout The Mountain for a memorable release that will no doubt serve as a timeless addition to his catalog.
(Annie Reuter/SoundsLikeNashville)

Das komplette Tracklisting:

1. Burning Man (feat. Brothers Osborne) - 3:58
2. The Mountain - 4:44
3. Living - 3:42
4. Woman, Amen - 2:59
5. You Can't Bring Me Down - 4:46
6. Nothing On But The Stars - 3:47
7. Goodbye In Telluride - 3:09
8. My Religion - 3:05
9. One Way - 3:37
10. Son Of The Sun - 3:10
11. Stranger To Myself - 3:24
12. Travelin' Light (feat. Brandi Carlile) - 3:14
13. How I'm Going Out - 3:38

Art-Nr.: 9639
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 15,90

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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: Neuheit || 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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Brody, Dean - dirt [2012]
Rarer Kanada-Import! Der in Nova Scotia lebende Dean Brody gehört ohne jeden Zweifel zu den besten und erfolgreichsten Countrykünstlern der heutigen Zeit in Kanada. Er ist ein Vorzeigemusiker des Country durch und durch, ein Singer-Songwriter, der mit seiner wundervollen, warmen, wenn nötig auch durchaus kraftvollen Stimme und seinem fantastischen, oft an vorm geistigen Auge vorbei ziehende, kleine Filme erinnernden Songmaterial, die Charts in Nashville eigentlich nach Belieben beherrschen müsste. Doch ein Star ist er unverständlicherweise "nur" in Kanada. Dabei waren die Voraussetzungen für eine große Karriere in den USA durchaus gegeben und sind eigentlich noch immer vorhanden. Brody's Freund und Produzent Matt Rovey (produzierte bislang alle Alben von Dean, inkl. "Dirt") besorgte ihm über seinen Bahannten Keith Stegall, seines Zeichens einer der Star-Produzenten Nashville's (u. a. Alan Jackson, George Jones, Randy Travis, Terri Clark, Joey + Rory, Zac Brown Band), vor einigen Jahren einen Deal beim arrivierten "Broken Bow Records"-Label in Nashville. Brody zog mit seiner Familie nach "Music City" und veröffentlichte im Jahre 2009 ein großartiges und viel beachtetes Debut. Doch die Erwartungshaltung des Labels an künftige Projekte war mit dermassen hohen Forderungen und Ultimaten an Brody verknüpft, die dieser einfach nicht akzeptieren wollte und konnte. So sehr wollte er sich nun doch nicht verbiegen lassen - und der Deal platzte nach nur einem Album. Brody und seine Familie gingen zurück nach Kanada, doch dort startete er auf dem kanadischen Label "Open Road" jetzt richtig durch. Zunächst veröffentlichte er 2011 sein zweites, fantastisches Album "Trail in life" und nun kommt er mit dem dritten, nicht minder starken, Werk "Dirt"! Inzwischen dekoriert mit einer Anzahl hochkarätiger Preise (er gewann unterdessen 3 Awards der Canadian Country Music Association, den "Songwroter"- und "Single Of The Year"-Award, wurde für den "JUNO" nominiert und schloß das Jahr 2011 als der meist gespielte kanadische Künstler im "Canadian Country Radio" ab) demonstriert Dean Brody auf "Dirt" all seine Stärken auf beeindruckendste Art und Weise. Er ist einer jener Vertreter des Country, der in seiner wunderbaren Musikdie Balance zwischen reiner, traditioneller Countrymusic und der modernen, jungen New Country-Generation geradezu perfekt austaxiert. Die Abhänger solcher Kollegen wie Alan Jackson, Vince Gill, Easton Corbin, Brad Paisley und Josh Turner werden ihn genauso lieben, wie die solcher Leute wie Dierks Bentley, Blake Shelton, Chris Young, Jake Owen und Gary Allan. Das ist einfach "Neotraditional and New Country-Music at it's finest"! Das Songmaterial, ausschließlich von Brody geschrieben (gelegentlich mit einem Co-Writer) ist von vorn bis hinten bärenstark und ohne jede Schwäche. Ob knackige, melodische Uptempo-Knaller wie das famose "Canadian girls" und das dramatisch inszinierte "Nowhere USA", oder lockere, angenehm inszenierte Midtempo-Nummern wie das exquisite, schöne "Bob Marley" oder das humorvolle, ländliche "That's your cousin" sind nur einige Beispiele für ein homogenes, prächtiges Gesamtwerk. Klasse beispielsweise auch das dynamische, keltisch angehauchte, mit der kanasischen Folkrock-Band Great Big Sea eingespielte "It's Friday". Aufgenommen wurde die Scheibe, obwohl sie nicht in den USA erschienen ist und wohl auch nie dort erscheinen wird, in Nashville, und zwar mit einer Garde an absoluten Spitzen-Studiocracks (u.a. Eddie Bayers, Chad Cromwell, Brent Mason, J.T. Corenflos, Jerry McPherson, Gary Prim, Andy Leftwich, Aubrey Haynie, Larry Franklin, um nur einige zu nennen). "Dirt" ist einfach ein wundervolles Countryalbum! Traditionell und modern zugleich, zeitlos aktuell, erfrischend, jung, ehrlich und authentisch durch und durch. Dean Brody ist ru Recht in Kanada ein ganz Großer. Vielleicht gelingt ihm in den Staaten doch noch einmal der Durchbruch, vielleicht will er das aber auch gar nicht - auf jeden Fall nicht um jeden Preis. Er will muikalisch sein Ding machen und immer er selbst bleiben. Das ist Authentizität - und das macht seine Alben so stark. Keine Frage: "'Dirt' is pure country gold"! Kommt übrigens in einem schönen Digipack, aus einem Material, das sich anfühlt, als sei es von einem feinen, hauchdünnen Samtflaum überzogen.

Das komplette Tracklisting:

1. Dirt - 3:16
2. It's Friday - 3:11
3. Underneath the Apple Trees - 3:31
4. Rural Route #3 - 4:11
5. Canadian Girls - 3:56
6. Flowers in Her Hands - 3:36
7. The Sleeping Bag Song - 3:19
8. That's Your Cousin - 3:24
9. Bob Marley Prelude - :27
10. Bob Marley - 3:27
11. Losing My Balance - 3:36
12. Nowhere USA - 4:27

Art-Nr.: 7898
Gruppe: Musik || Sparte: Country
Status: Angebot || Typ: CD || Preis: € 9,90

In folgende Titel können Sie reinhören:
Dirt
It's Friday
Rural route #3
Canadian girls
The Sleeping Bag Song
That's your cousin
Nowhere USA

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Ellis, Tinsley - winning hand [2018]
“Guitar, guitar, guitar is what this album is all about,” sagt Tinsley Ellis! Und wie recht er damit hat. Blues-/Bluesrock-Veteran und Gitarren-Legende Tinsley Ellies aus Atlanta/Georgia mit einer triumphalen Rückkehr zu seinem Stammlabel "Alligator Records", wo vor über 30 Jahren alles begann. "Winning hand" ist sein vielleicht bestes Album seit vielen Jahren. Gesanglich ist er in Top-Form, das wunderbar straighte Songmaterial ist schlichtweg super und seine Gitarrenarbeit ist elektrisierend, voller Inspiration, kraftvoll, messerscharf, virtuos - einfach herauzsragend. Viele große Kollegen (u. a. Derek Trucks und Warren Haynes) zählen ihn zu ihren absoluten Favoriten. In Quartett-Besetzung mit Kevin McKendree an den Keyboards, Steve Mackay am Bass und Lynn Williams am Schlagzeug, gelingt ihm ein rauschendes, facettenstarkes Blues-/Bluesrock-Meisterwerk, direkt, knackig, ohne Schnörkel, aber von beeindruckender musikalischer Tiefe und Qualität. Ein Werk, vom Beginn mit dem herrlich groovenden, kernigen, direkten, prächtig hängen bleibenden "Sound of a broken man", bis hin zu dem von monströsen Gitarrenläufen geprägten, über 8 1/2-minütigen, packenden, finalen Kracher "Savin grace", ohne jeden Durchhänger. Tinsley Ellis auf einem neuen Hoch in seiner jetzt schon sehr beeindruckenden, langen Karriere. Einfach toll!

Hier eine U.S.-Beschreibung im Original-Wortlaut:

"Feral blues guitar...non-stop gigging has sharpened his six-string to a razor’s edge...his eloquence dazzles...he achieves pyrotechnics that rival early Jeff Beck and Eric Clapton." –Rolling Stone "Ellis unleashes a torrent of dazzling musicianship pitched between the exhilarating volatility of rock and roll and the passion of urban blues." –Los Angeles Times Since his Alligator debut 30 years ago, Southern blues-rock guitar wizard, vocalist and songwriter Tinsley Ellis has become a bona fide worldwide guitar hero. The Chicago Sun-Times says, “It’s hard to overstate the raw power of his music.” Now, he makes his triumphant return to Alligator Records with a powerful new album, Winning Hand. Armed with his signature molten licks, melodic riffs and rousing, intense solos, Ellis, as his legions of fans will attest, is among the blues world’s best-loved, hardest working and most well-travelled statesmen. He has performed in all 50 United States as well as in Canada, Western and Eastern Europe, Australia and South America, earning legions of fans with his guitar virtuosity, passionate vocals and memorable original songs. Ellis is also revered as a guitarist’s guitarist, with famous friends including Derek Trucks, Warren Haynes, Oliver Wood, Jonny Lang and members of Widespread Panic calling on him to sit in and jam. “A musician never got famous staying home,” he says. Recorded in Nashville and produced by Ellis and keyboardist Kevin McKendree, the ten brilliantly performed, fervently sung tracks on Winning Hand include nine originals, ranging from blistering blues to heart-pounding rock to soulful ballads. As his only cover song, Ellis pays tribute to his greatest guitar-playing and songwriting influences with a Freddie King-inspired version of rock legend Leon Russell’s Dixie Lullaby. “Guitar, guitar, guitar is what this album is all about,” says Ellis, who recorded primarily with his 1959 Fender Stratocaster, his 1967 Gibson ES 345 and his 1973 Les Paul Deluxe. Guitar World says, “Ellis’ playing sparkles with depth and subtlety. Whether playing deep, slow blues or uptempo rockers, Ellis rides a gorgeously fat, pure tone.” Born in Atlanta in 1957, Ellis was raised in southern Florida. He discovered the blues through the back door of British Invasion bands like The Yardbirds, The Animals, Cream and The Rolling Stones as well as Southern rockers like The Allman Brothers. One night he and a friend were listening to records when his friend’s older brother told them if they liked blues, they should really be listening to B.B. King. As luck would have it, King was in town for a week, and the upcoming Saturday afternoon show was just for teenagers. Tinsley and his friend went, sitting transfixed in the front row. When B.B. broke a string on Lucille, he changed it without missing a beat, and handed the broken string to Ellis. After the show, B.B. came out and talked with fans, mesmerizing Tinsley with his warmth and kindness. Tinsley’s fate was now sealed; he had to become a blues guitarist. He saw Howlin’ Wolf, Muddy Waters and every other blues artist who came through town, always sitting up front, always waiting to meet the artists, take photos, get autographs. And yes, he still has B.B.’s string. Already an accomplished teenaged musician, Ellis left Florida and returned to Atlanta in 1975. He soon joined a gritty local blues band, the Alley Cats. In 1981, along with veteran blues singer and harpist Chicago Bob Nelson, Tinsley formed The Heartfixers, a group that would become Atlanta’s top-drawing blues band. After cutting a few Heartfixers albums for the Landslide label, Ellis was ready to head out on his own. Georgia Blue, Tinsley’s first Alligator release, hit the unprepared public by surprise in 1988. Critics and fans quickly agreed that a new and original guitar hero had emerged. The Chicago Tribune said, “Tinsley Ellis torches with molten fretwork. Ellis takes class...

Das komplette Tracklisting:

1. Sound Of A Broken Man - 4:51
2. Nothing But Fine - 3:52
3. Gamblin' Man - 5:59
4. I Got Mine - 4:14
5. Kiss This World - 3:55
6. Autumn Run - 6:12
7. Satisfied - 2:48
8. Don't Turn Off The Light - 4:41
9. Dixie Lullaby - 3:15
10. Saving Grace - 8:48

Art-Nr.: 9565
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

In folgende Titel können Sie reinhören:
Sound of a broken man
Nothing but fine
Gamblin' man
Autumn run
Satisfied
Dixie lullaby
Saving grace

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Highwomen, The - same [2019]
Einmalig! Was für ein starkes Debut! Mit den Highwomen ist in Nashville ein neues, weibliches Allstar-Projekt, eine Art "Supergroup", entstanden, die mit ihrem Bandnamen, man vermutet es schon, den zwar legendären, aber recht kurzlebigen, einstigen Highwaymen (Kris Kristofferson, Johnny Cash, Willie Nelson und Waylon Jennings) ihre Referenz erweisen. Auch die Highwomen sind große Namen, und zwar der aktuellen Americana- und Country-Szene. Es handelt sich um Brandi Carlile (eine der wichtigsten Americana-Künstlerinnen der Gegenwart und frisch gekürte Siegerin der 18. Annual Americana Music Honors & Awards in der Kategorie "Album des Jahres" für ihr Werk "By the way, I forgive you", verliehen im Ryman Auditorium in Nashville am 11.09.2019), Natalie Hemby (ungemein erfolgreiche und in Nashville hoch gefragte Songwriterin für alles, was in der Countryszene Rang und Namen hat), Maren Morris (die Jüngste im Bunde und sehr erfolgreiche Hit-Lieferantin der jungen Countrygeneration), sowie Amanda Shires (ebenfalls eine große Künstlerin der aktuellen Americana-Szene, begnadete Fiddlerin und Sängerin, "nebenbei" Ehefrau von Roots- und Americana-Rocker Jason Isbell und "sporadisches" Mitglied von dessen Band The 400 Unit), von der auch der Vorstoß zur Gründung der Band ausging. Shires unterbreitete den Vorschlag zur Gründung eines weiblichen Gegenparts zu den Highwaymen, als sie vor einiger Zeit mit Produzent Dave Cobb im Studio an einem Album arbeitete. Der war total angetan von der Idee, was Shires wiederum dazu veranlasste ihre Kolleginnen Brandi Carlile, Maren Morris und Natalie Hemby zusammenzutrommeln - und die Highwomen waren geboren. Trotz aller Referanzen an die Highwaymen, die Musik der Highwomen ist nicht mit der von Cash und Co. zu vergleichen. Hatten die Herren damals ihre typische Outlaw Country-Attitüde eingebracht, spielen die Highwomen von faszinierenden Lead-Stimmen und Harmonie-Gesängen bestimmte, hinreissend schöne, absolut reine, unverfälschte Countrymusic der Gegenwart, allerdings frei von jeglichem Pop-Schnickschnack und Mainstream-Bombast. Nein, das ist so frisch und rein, so ehrlich und authentisch, wie man Countrymusic heute nicht besser spielen kann. Und wenn es der Song benötigt, wird auch ein Hauch von Americana integriert. Die Vier sind fantastische Sängerinnen und Songwriterinnen und ergänzen sich einfach wunderbar. Das Songmaterial ist grandios. Die Highwomen werden unterstützt von jeder Menge Gastmusikern, -Sängern und -Komponisten, wie zum Beispiel Sheryl Crow (background vocals, bass), Yola (vocals, background vocals), Dave Cobb (acoustic/electric guitar), Jason Isbell (acoustic/electric guitar), Phil Hanseroth (bass, background vocals), Tim Hanseroth (guitar, background vocals), Chris Powell (drums) und Peter Levin (piano and keyboards), mit Songs komponiert von Carlile, Hemby, Morris, Shires, Isbell, den Hanseroth Twillingen, Rodney Clawson, Lori McKenna, Miranda Lambert und Ray LaMontagne. Es gibt nicht den Hauch eines abfallenden Songs. Das Werk, natürlich erstklassig produziert vom umtriebigen "König" Dave Cobb, ist eine absolute Offenbarung für die aktuelle Countrymusic. Einfach wunderbar!

Hier noch ein Original U.S.-Review:

There’s no getting around the supergroup label for this collaborative effort. It’s right there in the band’s name, a direct reference to The Highwaymen, the short-lived act that found legends Kris Kristofferson, Johnny Cash, Willie Nelson and Waylon Jennings joining forces on an intermittent basis for about a decade in the mid-’80s through mid-’90s.
Like those proud, rootsy country icons, The Highwomen — comprising Americana singer-songwriters Brandi Carlile, Natalie Hemby, Amanda Shires and Maren Morris — showcase their C&W roots, in addition to their more boundary expanding work. The collective, formed by Shires when she noticed the lack of female voices on country radio, not surprisingly revels in woman-empowered concepts.
From the joy of motherhood (“My Only Child”) to the difficulties of everyday life (“Redesigning Women”’s “Runnin’ the world while we’re cleanin’ up the kitchen … How do we do it?”) with of course a few nods to lousy guys who done them wrong (Shires’ going all Dolly Parton on “Don’t Call Me” and Morris’ “Loose Change”), this is a fresh, occasionally feisty, feminine approach to the country genre informed by the group’s singer-songwriter strengths.   
Carlile dives into that concept on the honky-tonking “My Name Can’t Be Mama,” which sounds like a lost Loretta Lynn gem. It’s the rare entry, along with “Crowded Table,” where all participants trade off or harmonize together on lead vocals. Morris gets introspective on the moving ballad “Old Soul” (“I guess I was born an old soul”) and Shires joins with husband Jason Isbell (also a member of the backing band) to pen “If She Ever Leaves Me,” sung by Carlile as a nod to her out-of-the-closet sexuality.
Generally more subdued than the Miranda Lambert-led Pistol Annies and less groundbreaking than Trio (the iconic Emmylou Harris, Dolly Parton, Linda Ronstadt project that was a clear influence here), some of this doesn’t qualify as country. It would have helped if all four women participated in every performance since at least one is MIA on the majority of tunes. And while Dave Cobb’s production is typically professional, it’s also a little dry.
Regardless, this is a much needed shot in the arm from talented female singer-songwriters, most of whose solo work is on the fringes of country music and who have every right to expect these songs to stand alongside the testosterone-heavy dudes on the commercial airwaves.
Whether any of these tunes will crack that particular glass ceiling is unclear. But between their recognizable names and obvious talents as singers AND songwriters, if The Highwomen’s debut can’t do the trick, it’s hard to imagine what will.
(Hal Horowitz / American Songwriter)

Das komplette Tracklisting:

1. Highwomen - 3:32
2. Redesigning Women - 2:54
3. Loose Change - 2:22
4. Crowded Table - 3:29
5. My Name Can't Be Mama - 2:30
6. If She Ever Leaves Me - 3:13
7. Old Soul - 5:45
8. Don't Call Me - 3:36
9. My Only Child - 3:53
10. Heaven Is A Honky Tonk - 3:54
11. Cocktail And A Song - 3:37
12. Wheels Of Laredo - 4:15

Art-Nr.: 9885
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 14,90

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Lady Antebellum - ocean [2019]
Lady Antebellum, Nashville's so großartiges, stets auf höchstem Level performendes New Country-/Country Pop-Trio, veröffentlicht mit "Ocean" ein weiteres, vorzügliches Album. Der bestechende Lead Gesang von Hillary Scott und Charles Kelley, sowie die Harmonies sind purer Genuß, ebenfalls die ausgewogene Songauswahl zwischen knackigeren Titeln und hinreißenden Balladen, sowie deren wundervolle Melodien. Ja, sie pendeln zwischen Pop und Country hin und her, sodass die absoluten Country-Puristen sicher ihre Schwierigkeiten haben, aber schöner kann man poppigen Country nicht spielen. Sie sind einfach mega gut, in dem, was sie tun. Das beweisen sie einmal mehr sehr eindrucksvoll auf diesem Werk. Toll!

Hier noch ein Original U.S.-Review:

Lady Antebellum may lean a little too closely to pop music for many tastes, but it's hard to argue with the trio's song choices. And its latest collection is filled with many memorable songs.
The single "What If I Never Get Over You," poses a rarely asked pop song question. Humans have come to believe the cliché, 'Time heals all wounds,' as if it were some sort of scientific fact. But what if it's just that, a well-worn cliché, with no actual teeth? Might 'eventual closure' just something we tell ourselves? Elsewhere, "Pictures" is the perfect love song for our social network-obsessed generation. Everyone, including troubled couples, can look as happy as larks in smile-for-the-camera pictures. What's happening when the camera isn't shooting, though, might be an entirely different (and tragic) story. Lady A's all-star pairing with Little Big Town on "The Thing That Wrecks You" includes one especially showstopping line: "You're a deer in the headlights and I'm driving as fast as I can."
Don't assume all of "Ocean" is endless sadness, although few do sad better than Lady Antebellum. "Crazy Love" is a joyous celebration of committed love, while "Alright" is like that deep breath assurance that everything is going to be okay. Even the let's-all-coexist "You Can Do You" works with its lightly funky groove.
The release closes with its quiet title track, which features Hillary Scott, one of our best ballad singers. It's a song one can easily imagine '70s era Fleetwood Mac singing. Just as Lady Antebellum is not always respected by country music purists, Fleetwood Mack was thought by hardcore rockers to be a little too wimpy, back in the day. Both Fleetwood Mac and Lady Antebellum are extremely good at what they do, though, no matter how you choose to categorize them, and "Ocean" is one strongly consistent project. (Dan MacIntosh / Country Standard Time)

Das komplette Tracklisting:

1. What If I Never Get Over You - 3:26
2. Pictures - 2:58
3. Crazy Love - 3:25
4. You Can Do You - 4:08
5. What I’m Leaving For - 3:23
6. Be Patient With My Love - 5:06
7. Alright - 3:16
8. Let It Be Love - 3:38
9. On A Night Like This - 3:23
10. Boots - 3:33
11. The Thing That Wrecks You (feat. Little Big Town) - 4:35
12. Mansion - 3:12
13. Ocean - 3:30

Art-Nr.: 9957
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 15,90

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Little Big Town - nightfall [2020]
"'Nightfall' is Little Big Town's album of 'peaceful' social commentary in a divisive world". Musikalisch in 13 wunderbare, gesanglich und instrumentell hinreißend vorgetragene Lieder gefasstes, überaus ambitioniertes, neues Album von Little Big Town. Das immer mal wieder als "Fleetwod Mac des Country" bezeichnete, mit vielen Grammys und anderen Preisen hochdekorierte Quartett zeigt sich textlich engagiert und kritisch wie nie zuvor. Man hat etwas zu sagen. Dazu packen Karen Fairchild, Kimberly Roads, Jimi Westbrook und Phillip Sweet die teils sehr zum Nachdenken anregenden Themen nicht in rauschende Partyheuler, sondern in entsprechend exquisites, überaus niveauvolles Midtempo- und Balladen-Songmaterial mit tollen Arrangements. "This is no 'rah-rah beer festival'", betonte die Band dazu in verschiedenen Interviews (nachzulesen in u. a. Original Album-Review des New Yorker Wall Street Journal). "Nigtfall" ist eine absolute Glanzleistung von Little Big Town!

Original Album-Review des New Yorker Wall Street Journal:

Ambitious country-music performers face some daunting choices these days. They can lean toward furthering the genre’s tradition of capturing under-explored scenes and sentiments of contemporary adult life, and thus risk appealing to hard-core connoisseurs only. Or they can engage with popular tropes that, however often repeated, dominate big-time country radio, winning acceptance by the widest audience in the process. The fairly stark dichotomy can be characterized as more lettered, Americana-adjacent country versus country pop; aiming at more mature versus younger audiences; or even simply as album-centered versus hot-single-oriented production.
But there is a third, especially challenging route—one pursued by such repeatedly honored practitioners as Miranda Lambert, Eric Church and Dierks Bentley : working consciously and deftly to have it both ways. And among vocal groups over the past decade, none has proved more adept at walking this road than the mixed-gender, always vocally harmonious quartet Little Big Town—founders Karen Fairchild and Kimberly Schlapman, with Jimi Westbrook and Phillip Sweet. Winners of the Country Duo/Group Performance Grammy for “Pontoon” (2012), “Girl Crush” (2014) and “Better Man” (2016), they were also the Country Music Awards’ Vocal Group of the Year for six years running, 2012-2017. Their latest album, “Nightfall” (Capitol Records Nashville), set for release Jan. 17, is yet another in their succession of album gems, and a prime example of an artfully constructed offering likely to gain popularity as well as critical praise.
The most-discussed track before the album’s release has been “The Daughters,” a melodic ballad written by Ms. Fairchild along with respected Nashville songwriters Sean McConnell and Ashley Ray. Introduced by the group on the televised ACM Awards back in April, it outlines the circumscribing demands and expectations young girls are so often subjected to and offers them parental hope, but a chorus line that tossed in “I’m just looking for a God for the daughters” effectively ruled it out as a single promoted to wary and guarded pop-country radio. (The same edgy cheekiness had marked the easily misunderstood “Girl Crush,” and brought more attention to it.) “The Daughters” was nominated for this year’s Country Duo/Group Performance Grammy before the album was even out.
The first track that was vigorously promoted as a single is a song about drinking, safer country territory, and is in a traditional honky-tonk mode—not just in sound and rhythm but in its clever turn on expectations. “Over Drinking” is not about drinking too much, but about being finished with crying in a beer: “I’m drunk ’cause I’m happy, not drunk ’cause you’re gone; I’m over drinking over you.” Classic hard country. But for those looking for a pop alternative, the very next album track is “Wine, Beer, Whiskey,” which, after a teasing after-hours jazz-like opening, turns to a thumping salute to friends named Jack, Jose, Brandy, Sherry and Captain. No explanations required—and audience balance achieved.
The latest single, “Sugar Coat,” is a moody, dark ballad with Ms. Fairchild singing lead, in the persona of the long-suffering wife of a husband with wandering ways. She doesn’t drink, doesn’t take pills, just smiles “with a lump in my throat.” Many will find the song instantly relatable; it was written by country’s expert on such situations, Lori McKenna, along with Josh Kerr and Jordyn Shellhart. One of the advantages of a track record like Little Big Town’s is the happy availability of new songs that work for them from top writers—a number in this case co-written along with the band, and with Ms. Fairchild in particular. The album’s all-star songwriting contributors include Daniel Tashian and Ian Fitchuck, Grammy-winning producers and collaborating writers for Kacey Musgraves’s “Golden Hour” album last year; and the so-called Love Junkies (Ms. McKenna, Hillary Lindsey and Liz Rose ) who’d been responsible for “Girl Crush.”
Overall, the instrumentation is as varied as the album’s many moods demand, and the always strong Little Big Town vocals rise to the varied occasions. But as the songs add up on “Nightfall,” you notice that there’s a theme at work, reflected in the album title—moods when the lights go down; dreams; thoughts while lying in bed alone or with company, old or new. It’s often sophisticated, yet nonetheless country-ready, after-dark material.
“Nightfall,” the group has been telling interviewers, is no “rah-rah beer festival.” Indeed, the album’s release show is set for New York’s Carnegie Hall on Jan. 16, and the Apollo Theater the following two nights. To use a phrase only occasionally appreciated or particularly appropriate in country, this is a class album from one classy group. (Barry Mazor / The Wall Street Journal)

Das komplette Tracklisting:

1. Next To You - 4:06
2. Nightfall - 3:21
3. Forever And A Night - 4:26
4. Throw Your Love Away - 3:44
5. Over Drinking - 3:10
6. Wine, Beer, Whiskey - 3:16
7. Questions - 3:03
8. The Daughters - 3:32
9. River Of Stars - 3:37
10. Sugar Coat - 3:39
11. Problem Child - 3:35
12. Bluebird - 3:11
13. Trouble With Forever - 3:31

Art-Nr.: 9977
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 15,90

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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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Mead, Chuck - close to home [2019]
5 lange Jahre sind seit seinem letzten Werk vergangen, doch nun meldet sich Chuck Mead, ex-Kopf der in den Neuzigen so erfolgreichen Neo Traditional Honky Tonker BR5-49, mit einem höchst beeindruckenden, ja bärenstarken, neuen Album zurück. "Close to home" ist in Memphis entstanden und eine packende, genauso erfrischende, wie spielfreudige Kombination aus klassischem Country, Honky Tonk, Countryrock, Americana und Rockabilly, alles eingetaucht in einen wunderbaren, typischen, soulful "swampy, modern Memphis sound", mit einem Hauch von nostalgischer "Sun Studios"-Atmosphäre. Nicht selten fallen einem bei diesen durchweg prächtigen, in erstklassige Melodien gefassten Songs, solche Bands wie etwa Mark Stuart und seine großartigen Bastard Sons Of Johnny Cash ein, aber auch zarte Spuren des frühen Dwight Yoakam oder Marty Stuart sind wahrnehmbar. Was für eine aufregende Kombination. Dazu passt die herrliche Instrumentierung aus tollen, dynamischen E-Gitarren (vereinzelt auch mit faszinierenden Bariton E-Gitarren), sich immer wieder sehr angenehm durch die Songs schlängemder Pedal Steel (großartige Solo-Einlagen), ausgewogen eingesetzten Keyboard-Ergänzungen und einer prächtig auf das Ganze abgestimmten Rhythmus-Fraktion. Alles wirkt wunderbar frisch und dennoch auch natürlich dreckig und rau. Einfach klasse! Los geht's mit dem von erdigen E-Gitarren bestimmten, ordentlich nach vorn stampfenden, rockin & rollin' Country-Knaller "Big bear in the sky", gefolgt von dem straight "rockenden", mit einer prächtigen Melodie und herrlichen Pedal Steel-Linien (starkes Solo von Carco Clave) versehenen, "early Yoakam"-ähnlichen, lupenreinen. lässigen, knackigen Honky Tonker "I'm not the man for the job". Zwei großartige Nummern, stellvertretend für einen starken Track nach dem nächsten. Ob beispielsweise der leicht bluesige, mit einer feinen Portion Memphis-Soul angereicherte Americana-/Countryrocker "My baby's holding it down" (sehr schöne Melodie, klasse E-Gitarren-Spiel von Mead, feine Orgel und E-Piano-Klänge, dezente "One of these nights" Eagles-Reminiszensen), die so natürliche, honky-tonkige Retro-Countrynummer "Close to home" (tolle Pedal Steel-/Bariton E-Gitarren-Kombination), der ordentlich in die Beine gehende Country Rock'n Roll-/Rockabilly-Feger "The man who shook the world", das schnörkellose, wunderbar ins Ohr gehende "Billy doesn't know he's bad" (lupenreiner Country/New County vom Allerfeinsten), oder das leicht swampige, mit einem prächtigen CCR-/John Fogerty-Vibe in Szene gesetzte "Shake" - dieses Album macht von vorn bis hinten einen Riesenspaß. Wohl eine der besten Arbeiten des Mannes aus Lawrence/Kansas nach seiner BR5-49-Zeit. Ein echt großer Wurf von Chuck Mead!

Hier noch ein Original U.S.-Review:

There are precious few artists keeping the sound of classic honky tonk alive in today’s fractured marketplace. After all, the contemporary country crowd that buys “product” isn’t particularly interested in the old school music of Johnny Horton that Chuck Mead loves. But as the co-founder of BR5-49 with whom he released seven albums, and as a solo artist with three previous deep C&W roots discs to his name, you can depend on Mead to keep the honky-tonking fires alive and burning.
Along comes producer/engineer Matt Ross-Spang. In conjunction with Mead, they decide to change the blueprint for solo release number four (and his first in five years). While pure honky-tonk is still very much on display in tracks such as the “Close to Home” title tune and “Tap Into Your Misery,” Spang moves Mead to record in Sam Phillips’ Memphis studio. This adds a layer of dusky swamp, blues and rockabilly to the country proceedings, expanding Mead’s palette and sound.
On “Shake,” he borrows a moody lick from Creedence Clearwater Revival. For “The Man Who Shook the World” he nails a NRBQ-styled rocker, and in “My Baby’s Holding It Down,” Mead taps into a sharp balance between pop and Americana in a slow-burn rocker with a bit of an old Eagles vibe. He’s still got his sense of humor though as you can tell just by the title of the Chuck Berry “Rock and Roll Music” rip “Daddy Worked the Pole.” It’s the story of the singer’s dad who worked on a telephone pole so his mom didn’t need to work the pole in the exotic club where they met … until they switched supporting each other.
Even further afield is the jittery reggae of “I’m Not the Man for the Job,” (Mead describes it as “rocksteady from San Antonio”) which adds pedal steel to its Jamaican rhythm for a unique juxtaposition which seems odd on paper but works well in execution. He goes countrypolitan too on the sweet Glen Campbell-influenced “There’s Love Where I Come From,” as close to a commercial single as Mead has ever come. And the opening “Big Bear” rocks hard with twang guitar reverb pushed to 10. Even the pure country of “Billy Doesn’t Know He’s Bad” has a weird lyrical twist that shows sympathy for an outlaw with mental problems.
Diverse? You bet, but Mead holds it together with his twangy, cool voice and a sense of roots that conveys he’s a country guy at heart looking to expand his boundaries … but not too far. The disc is like the best jukebox you ever heard in a sleazy, punky country bar, perhaps like the broken down Seeburg pictured on the back sleeve. Plunk down your quarter and wherever the needle falls, you’ll end up on the dance floor. (Hal Horowitz / Amarican Songwriter)

Das komplette Tracklisting:

1. Big Bear in the Sky - 2:44
2. I'm Not the Man for the Job - 3:12
3. My Baby's Holding It Down - 3:11
4. Better Than I Was (When I Wasn't so Good) - 4:06
5. Daddy Worked the Pole - 3:31
6. Close to Home - 3:00
7. The Man Who Shook the World - 3:53
8. Billy Doesn't Know He's Bad - 4:02
9. Tap into Your Misery - 3:46
10. Shake - 4:10
11. There's Love Where I Come From - 2:33

Art-Nr.: 9834
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 15,90

In folgende Titel können Sie reinhören:
Big bear in the sky
I'm not the man for the job
My baby's holding it down
Close to home
The man who shook the world
Billy doesn't know he's bad
Shake

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

Hier ein Original U.S.-Review:

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

Ein paar mehr Infos und Soundfiles folgen in Kürze!

Das komplette Tracklisting:

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

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

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

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Stapleton, Chris - from a room ~ vol. 1 [2017]
Das erste, von zwei für dieses Jahr angekündigte Chris Stapleton-Alben ist da. Der Nachfolger zu dem überragenden 2015er Debut "Traveller" knüpft mit seiner immens hohen Qualität nahtlos an den Vorgänger an und lässt keinerlei Wünsche offen. Rau, authentisch, erdig, rein und voller Ausstrahlung erleben wir erneut eine unwiderstehliche Reise durch die Welt des Country, von traditoinellem Country über Outlaw Country, Roots Country, Blues Country, Biker Country bis hin zu Singer-Songwriter Country, punktgenau und ohne großen Bombast instrumentiert. Steckt voiller Seele und innerer Kraft. Stapleton singt bärenstark - mal behutsam und ruhiger, mal voller Vehemenz aus sich herausgehend. Faszinierend. Erneut ein brillantes Teil!

Das komplette Tracklisting:

1. Broken Halos - 3:00
2. Last Thing I Needed, First Thing This Morning - 4:15
3. Second One To Know - 2:56
4. Up To No Good Livin' - 4:05
5. Either Way - 4:08
6. I Was Wrong - 3:11
7. Without Your Love - 3:51
8. Them Stems - 3:00
9. Death Row - 4:03

Art-Nr.: 9440
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 13,90

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Plus 5 Bonus-Tacks:

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

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

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Worley, Darryl - here and now [2006]
Respekt, Respekt, Mr. Worley! Der Mann scheint nicht nur "Nehmer-Qualitäten" zu besitzen, sondern obendrein noch genug Kraft zu haben, ordentlich "austeilen" zu können: Erst ist der Major-Deal bei "Dreamworks Records" futsch, dann bei Neal McCoy's kleinem "903 Music"-Independent Label, quasi als Trotzreaktion, sein bislang klar bestes Album abzuliefern, das muss man erst mal hinkriegen, das hat schon Klasse! Etwas rockiger als früher, gleichzeitig immer "real country", umgarnt mit fetten E-Gitarren, teilweise umweht von einem herrlichen Southern-Flair, geht Worley in den 13 neuen Songs auf, wie nie zuvor! Bei den früheren Alben fühlte Darryl sich nach eigener Aussage oftmals allzu sehr "in ein Korsett gepresst", konnte sich eigentlich nie so entfalten, wie er es wollte. Und wirklich, beim Hören der neuen Stücke von "Here And Now" spürt man förmlich, wie Darryl erleichtert "ausatmet" und seine ganze, neu gewonnene Energie in die Songs einbringt. Dabei hat sich eigentlich von den Grundgegebenheiten zum letzten Werk gar nicht soviel verändert. Produziert hat erneut Frank Rogers, viele der damaligen Co-Writer sind abermals involviert, und auch der Kreis der exzellenten Musiker früherer Tage hat im Großen und Ganzen wieder Hand angelegt. Selbst die Cover-technische Umsetzung (12-seitiges Klapp-Booklett mit vielen Bildern und sämtlichen Texten), hält dem Anspruch der großen Label ohne jede Frage stand! Das Geheimnis dieser CD dürfte vielmehr in der völlig zwanglosen Unbefangenheit liegen, mit der man hier zu Werke geht. Es wird nicht auf die Charts und Verkaufszahlen geschielt (obwohl die erste Single "I just came back from a war" bereits einen prima Chart-Einstieg hingelegt hat), sondern einfach, bei aller Professionalität, voller Spaß los musiziert! Das kommt prächtig rüber! Worley schreibt klasseTexte, die sympathisch und lebensnah wirken, die Lieder haben sehr viel Pepp und glänzen mit viel Abwechslungsreichtum, die großartigen Musiker, besonders die überragenden Gitarristen Brent Rowan und Pat Buchanan, dürfen sich so richtig austoben. Selten erlebt man eine New Country-CD, die ständige, satte, auf den Punkt gebrachte E-Gitarren-Soli beinhaltet, die so viel Southern-Espirit versprüht. Kommen wir zu den Songs: "Jumpin’ Off The Wagon", ein schöner Honkytonk-/Roadhouse Country-Rocker, bedeutet zunächst einmal Worley's gar nicht so zimperliche Abrechnung mit seinem früheren Label, "Nothin’ But A Love Thang" ist rhythmischer, dampfender, swampiger, sehr sexy dargebotener Southern-Country und das bluesige, dampfende "Free" hat gar etwas von den Allman Brothers (typische Orgel/E-Gitarren-Breaks). Der Song zeichnet sich zudem durch einen herrlichen Groove aus. Die nächsten beiden Stücke ("It’s The Way You Love Me" und "Party Song") dürften jede Location im staubigen Westen zum Kochen bringen. Das ist abgehender "Gute-Laune Southern Rock" vom Feinsten, wobei letzteres voller fulminanten Georgia Satellites-Flair steckt! Hier hat man schon die knapp bekleideten Mädels und gut aufgelegten Kerle in bester Feier-Laune auf der Tanzfläche vor dem geistigen Auge. So locker und flockig wie sein Text ist auch die Performance der fantastischen, lupenreinen Countrynummer "Living In The Here And Now": Schöne Akustikgitarrenuntermalung, immer wieder mit dezenten E-Gitarren und Orgel-Einsätzen versehen, sowie zwei schöne, aufeinander folgende E-Soli beider Gitarristen und eine herrliche Melodie lassen ein wenig entspannte Vince Gill-Atmosphäre aufkommen. "Do You Know What That Is" ähnelt von der Coolness her den Stücken, mit denen Trace Adkins in letzter Zeit immer wieder Erfolg hatte. Im hinteren Bereich des Albums gibt es dann noch zwei ruhigere Stücke mit nachdenklichen Texten, zwei erneute rockige Feger ("Whiskey Makes The World Go Round" - so richtig aus dem Leben gegriffen, "Lowdown Woman" - wieder mit fetten Gitarren und schönem Southern-Feeling), sowie das großartige, bereits erwähnte "I Came Back From A War", das in einem entspannten, aber durchaus kraftvollen, sehr melodischen musikalischen Rahmen, ebenso patriotisch wie kritisch aktuelle Kriegsproblematik amerikanischer Sodaten reflektiert. Insgesamt ist "Here And Now" von Darryl Worley ein Album, das Verlierer und Gewinner offenbart: Verlierer sind sicher sein Frisör, der ihn seit seinem letzten Werk scheinbar nicht mehr zu Gesicht bekommen hat (Darryl jetzt mit langer Matte), und sein voriges Label, das Worley's Stärken augenscheinlich nicht ausreichend zur Entfaltung kommen ließ. Gewinner, und das ist das alles Entscheidende, aber sind Worley selbst, der endlich die Musik machen kann, mit der er sich hundertprozentig identifizeirt, und die Fans, die diese großartige Musik in vollen Zügen genießen dürfen! Sehr stark! (Daniel Daus)

Art-Nr.: 4640
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 17,90

In folgende Titel können Sie reinhören:
Free
Party song
Living in the here and now
Things I'll never do again
Lowdown women
I just came back from a war

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