Artikel 1 bis 15 von 20 gefundenen...

[1-15] [16-30]

Allman, Devon - ride or die [2016]
Prächtiges, neues Werk von Greg Allman's Sohn (ex Royal Southern Brotherhood), der wirklich immer reifer und stärker wird. "Ride or die" zeigt ihn in exzellenter Verfassung. Blues, Rock, Bluesrock, Soul, Roots mit viel Southern-Esprit, verziert mit großartigem Gitarrenspiel, bei dem der Funke sofort überspringt. Großartig!

Aus der Original U.S.-Produktbeschreibung:

Son of Greg Allman, Devon Allman's `RIDE OR DIE` is his third solo record for RUF Records. The album contains twelve soulful and powerful tracks that showcase Allman's maturity as a songwriter, a singer, and his continuous evolution into one of the top guitarist on the scene today. Co- produced along with Grammy winning Tom Hambridge, Allman takes you on a journey through his own intimate back roads and personal highways. It's an emotional journey that takes you through the mountain highs and valley lows, while sheltered from the storms under melodic choruses, surrounded by verses rich with powerful messages throughout some of the deepest material that he has ever written and recorded. There is no doubt that his family's musical DNA has graced Devon Allman with that "Allman Soul," but there is clearly no denying that he puts his personal stamp and his own style, of bending and twisting the blues, into his own Devon Allman brand.`RIDE OR DIE` defines where the artist is today.
Last year Devon received praise from Guitar Player Magazine as they referred to his last CD `Ragged and Dirty` as `powerful, soulful vocals to dig-in-and-let-fly guitar work.` Now on `RIDE OR DIE,` it just gets more soulful. It is definitely Allmanâ TMs most powerful recording yet. The new album shows an artist in full, self assured command.

Das komplette Tracklisting:

1. Say Your Prayers - 3:15
2. Find Ourselves - 3:10
3. Galaxies - 4:57
4. Lost - 4:32
5. Shattered Times - 3:31
6. Watch What You Say - 4:18
7. Vancouver - 4:13
8. Pleasure & Pain - 4:07
9. Hold Me - 2:26
10. Live from the Heart - 4:49
11. Butterfly Girl - 4:35
12. A Night Like This - 4:20

Art-Nr.: 9275
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


BoDeans - indigo dreams [2011]
Hervorragendes, neues Album von Kurt Neumann and Sammy Llanas, aka The BoDeans, die damit wieder zurück zu ihren Wurzeln gehen und den doch etwas experimentierfreudigen Vorgänger hinter sich lassen. Was wir hören ist allerbester Rootsrock/-pop in der typischen BoDeans-Tradition, die ihnen vor 25 Jahren anlässlich ihres damaligen Debutalbums den Titel der "Best New American Band" durch die Leser des amerikanischen "Rolling Stone" einbrachte. Herrlich melodische Songs mit tollem Gesang und eingängigen Arrangements. Klasse Teil!

Hier der offizielle Text des Labels zur Veröffentlichung im Original:

Twenty five years after their T-Bone Burnett produced debut Love & Hope & Sex & Dreams led them to win a Rolling Stone reader s poll as Best New American Band, The BoDeans are still rocking and harmonizing gracefully, touring the U.S. regularly and exposing the kids of their longtime steadfast fans to real, heartfelt and trend-free music. Best known for their mid-90 s Billboard Top 20 hit anthem Closer To Free, which became the theme song for Fox s Party Of Five, the dynamic musical duo Kurt Neumann (vocals and electric and acoustic guitars) and Sam Llanas (vocals and acoustic guitar) is still focused on writing songs that bring good things to the world. Their latest album, Indigo Dreams, is a salute to the working man his dreams, his desires, his love, his responsibilities, his ethos.
For the BoDeans, the fact that their music was never easily pigeonholed into a specific genre or style was more a strength than a problem as their career developed. They followed their debut with Outside Looking In (1987), Home (1989), Black and White (1991), and Go Slow Down (1993), which featured Closer To Free which became a massive pop and adult contemporary hit when the world heard it every week via Party of Five. They released the 2 CD live set Joe Dirt Car and Blend (1996).
A few years after the release of the 17-song compilation The Best of BoDeans Slash and Burn in 2001, they returned to studio recording with Resolution (2004) and then a live album and subsequent DVD called Homebrewed: Live From The Pabst. Still was released in 2008.
The enduring success of the BoDeans is a byproduct of making music that creates a special connection to moments in people s lives. It s not always this dramatic, says Neumann, but we do hear of stories where people are ill or dying and our songs give them a sense of joy and hope. It s always wonderful to be important to peoples lives. We also saw this YouTube clip of two kids in car seats singing one of our songs on a family road trip. Their parents are playing our songs and we are a part of their world in that moment. I want to know someday that I ve brought good things into this world, and this kind of fan response confirms that Sam and I have been able to do this.

Das komplette Tracklisting:

1 Blowin' My Mind - 4:09   
2 Paved in Gold - 3:38   
3 Right Now - 4:02   
4 How Can We - 4:14   
5 Way Down - 3:44   
6 Sad Eyes - 3:58   
7 Wrap Me - 3:55   
8 Me Again - 4:11   
9 Don't Wanna Go - 3:14   
10 Rock N Roll Overdrive - 4:48   
11 Father's Day - 4:34   
12 Put Your Money Where Your Mouth Is - 4:14   
13 Mercy - 4:25

Art-Nr.: 7489
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 13,90

In folgende Titel können Sie reinhören:
Blowin' my mind
Paved in gold
Way down
Sad eyes
Wrap me
Rock n Roll overdrive

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


Brooks, Kix - new to this town [2012]
Brooks & Dunn sind Geschichte, doch nach Ronnie Dunn kommt nun auch die andere Häfte des erfolgreichsten Country-Duos aller Zeiten mit einem Solo-Album! "New to this town" heisst das hervorragend gelungene Werk, mit dem Kix Brooks eindrucksvoll offenbart, was er auch ohne seinen kongenialen Partner in der Lage zu leisten ist. 12 starke Nummern, zumeist sehr kraftvoll und knackig in Szene gesetzt (der Balladen-Anteil ist klar in der Minderzahl), zwischen traditionellen Anlagen und sehr abwechslungsreichem, zuweilen durchaus rockigem New Country. Gast, Slide-Gitarrist und Duett-Partner beim Titelstück ust übrigens Joe Walsh (The Eagles). Die Musik passt durchaus zur Philosophie, die auch Brooks & Dunn verkörperten, hat aber auch ihren eigenen Pep. Die Melodien sind prima! Gratulation an Kix Brooks zu diesem großartigen Album!

Wen es interessiert: Hier im Original eine sehr ausführliche, aktuelle Biographie mit der Geschichte zum neuen Album im Original-Wortlaut:

"Wish I was new to this town
Just pullin’ in checking it out for the first time”
— “New to This Town” by Kix Brooks, Marv Green and Terry McBride

It’s been more than 30 years since Kix Brooks was new to the town that he made his home, where he married, raised two children and built an accomplished career as a songwriter, singer and half of the most successful duo in country music history, a weekly national radio show host, magazine columnist, film producer, actor, winery owner and active and influential member of the music industry and community at large.

And yet here he is, picking up where he started when he really was new to this town, when his very first solo single in 1983 lumbered up the country chart to #73 before being hijacked by gravity into oblivion.

“New to This Town” is the title cut from the album that he hopes will reintroduce him to music fans, not exactly as a brand new man—to borrow a phrase from a song he co-wrote many moons ago—but as his own man, with his own songs to sing and his own unique story to tell.
Though the song is about a romantic relationship, metaphorically it suggests another interpretation. “When you’re starting out, there’s so much fear that if you screw up or put out the wrong record, you’ve lost that chance to live your dream. At this point in my career, there’s a different kind of uncertainty and risk that the people who have seen me perform for 20 years as half of Brooks & Dunn won’t be able to see me as anything but that. So in that sense, being new to town would be good to be able to do again.”

Kix Brooks’ career as a musician began long before he came to Nashville, which is less than 100 miles from where the Louisiana native was shipped off for high school at Tennessee’s Sewanee Military Academy. “I wasn’t bad, but I wasn’t good,” he confesses with a smile. “The discipline was good for me. It gave me structure and problem-solving skills, which are really helpful for creative people.”

Brooks grew up in a musical family, had his first guitar before he hit his teens, and while in Sewanee, he began playing coffee houses with his roommate, Nashville native Jody Williams. “Jody turned me on to the Opry,” expanding the range of country music that Brooks already loved. “I was a fan of bluegrass, rock and outlaw country, people like Willie, Cash and Roger Miller. I loved the Allman Brothers, Leon Russell, the Nitty Gritty Dirt Band, Asleep at the Wheel, Guy Clark, Jerry Jeff Walker. ”
After graduation, he went to Louisiana Tech, gaining a foundational education in reading music and the theory of composition while getting hands-on experience playing clubs around town. Realizing that he wasn’t cut out to be in the marching band, school choir, or orchestra—which were required for a music degree—he switched his major to speech and got into theater, both of which would later serve him well.

A brief sabbatical from school led him to Alaska in 1976, working for his dad, a pipeline contractor. The job was great seed money, he recalls, “So when I got home, I bought a new car, a new guitar, a bottle of whiskey, and I was ready to get back at it.

“I had a band and I did some solo stuff. I could bang on a guitar and open up for just about anybody playing clubs in Shreveport. My plan was to be somebody.”
But an invitation from his sister put “Plan A” on hold. “She called me out of the blue and asked if I would come to Maine and help her with a television production company. So I was doing radio and television production, commercials, and it was a great experience. But I was also playing clubs and was still drawn to that. I enjoyed advertising, I enjoyed Maine. But in my heart of hearts, I just wanted to play music.”

So he took off again for Louisiana but stopped in Nashville to visit with his old roommate Jody Williams. “We stayed up all night talking and playing music, and Jody tried to talk me into staying. He said I could make a living writing songs. I said, ‘A, you’re nuts, and B, I’m going to New Orleans to play music.’”
But as fun as it was, the pace—and the partying—began to take a toll. “I called Jody up and said, ‘Do you really think I could make a living writing songs?’ and he said, ‘Get your ass up here!’”

True to his word, Williams gave Brooks a place to crash and found him a job with a concert production company while arranging meetings for him with music publishers around town.

“Everybody was really nice for about half a song, and then I wrote some more songs and called them back, and everyone was always out to lunch. So I started breaking songs down and figuring out what these guys were doing, which doesn’t mean you can do it, but at least I did my homework and really started working harder at trying to figure out how to do it. I realized it was one thing to make people smile in bars and another thing to make a living as a songwriter in Nashville.”
His hard work paid off, and less than two years after pulling into town, Brooks had a publishing deal and a #1 cut. Some things didn’t pan out, like his first album in 1983 on a label that went defunct before the album was released and a 1989 album on Capitol that went nowhere fast.
But he was making a living—a good living—writing songs for Tree Publishing, where exec Paul Worley took some of his demos to veteran music man Tim DuBois, head of the Arista Nashville record label. DuBois suggested that Brooks write with the winner of a talent competition, a tall, big-voiced Texan named Ronnie Dunn. When DuBois heard their song demos, the rest became Brooks & Dunn history.

In their 20-year ride, the duo recorded 10 studio albums, released 50 singles, scored 23 #1 hits, sold more than 30 million albums, sold out tours from coast to coast and became one of the most awarded acts in country music history.

But in August of 2009, they revealed what had long been a topic between the partners themselves: that after a final tour and a final compilation album, Brooks & Dunn would be no more.

“It was always an arranged marriage that happened to work out really well and produce some great kids. But after 20 amazing, dream-like years, it was time.”
As for the notion of recording a solo album, Brooks took his time—or as much time as realistic for someone who owns a thriving winery, hosts a weekly syndicated radio show, forms a film production company, takes on roles in three movies and writes all but one of the songs for the soundtrack for the western To Kill a Memory, as well as co-writing the soundtrack for a Christmas movie.

“I have a lot of interests, and I wasn’t at that point thinking of what I would do next. I was kind of looking forward to chilling for a year or so. I wanted to take my time. I started writing during the last B&D tour, and when we got done, I kept writing while we were making movies.”
When the time felt right, Brooks approached his album with customary enthusiasm, producing and recording nearly 50 songs before beginning the challenging process of narrowing the field. “There were a few like [the Brooks/Leslie Satcher co-write] ‘Moonshine Road’ that I was sort of building the album around,” he says, “so you try to take the ones that fit the other songs the best, that fit you best, or where the track is just smoking.”

The result is a record that is emphatically and uniquely Kix Brooks—rocking, smoky, swampy and bluesy, with belts of bayou and hits of Cajun zydeco. Nine of the album’s dozen tracks bear Brooks’ name as a co-writer, collaborating with such longtime friends and writing luminaries as Bob DiPiero and David Lee Murphy (on the lyrically clever “Closin’ Time at Home”), Rhett Akins and Dallas Davidson (for the mid-tempo musical celebration of “Bring It on Home”), and Marv Green and Terry McBride on “New to This Town,” the title track single that almost didn’t make the album.

“We were kind of done with everything, I had recorded the album, and Jay DeMarcus and I were doing the soundtrack for a Christmas movie over at his house. But I was thinking about that song, so he was nice enough to help me produce it and let me use the pickers while we were working there. He really liked the song, so I said, ‘Let’s do it together.’”

Later, “The engineer from my radio show said, ‘You ought to get some Joe Walsh-sounding slide on that.’ I’m like, ‘Hmm, what if I could get Joe Walsh?’ My manager is partners with Irving Azoff, who sent it to Joe, and he called me up and put the slide on there for me. So that worked out great.”
In a new-to-this-town, full-circle touch, the album also features two songs that Brooks wrote with Rafe Van Hoy. With Deborah Allen, they penned Brooks’ first #1 as a songwriter (John Conlee’s ’83 chart-topper, “I’m Only in It for the Love”), and they pair here on the backsliding fun of “Complete 360” and team with Curly Putman on the groove-and-soul-filled, after-hours portrait of “my baby’s” “Tattoo.”

Now, with his album complete, Brooks is just looking forward to getting it into the hands of fans and resuming the solo career that began long ago when his entire plan “was to be somebody.”

“That fear I had at one point in my career where you’re scared to death to make the wrong move, I don’t feel that way now. But you still really want to do something that is relevant and makes people rock, and look out at a crowd and know you have connected, you’ve hit that nerve. I don’t think you ever get over that.”

(This biography was provided by the artist or their representative.)

Das komplette Tracklisting:

1. New to this Town - 4:20
2. Moonshine Road - 4:21
3. Bring It On Home - 3:44
4. There's the Sun - 3:05
5. Complete 360 - 3:16
6. My Baby - 2:55
7. Tattoo - 3:25
8. In the Right Place - 3:47
9. Next to That Woman - 3:21
10. Let's Do This Thing - 2:57
11. Closin' Time at Home - 3:37
12. She Knew I Was a Cowboy - 3:22

Art-Nr.: 7907
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 13,90

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


Canada & the Departed, Cody - this is indian land [2011]
Wow! Cross Canadian Ragweed liegen auf Eis. Doch Frontmann und "Red Dirt"-Held Cody Canada hat um sich herum eine neue, herausragende Truppe, "The Departed", zusammengestellt - und die liefern mit "This is indian land" geradezu ein Referanzalbum in Sachen "Red Dirt Music" ab. Das Teil ist eine leidenschaftliche Hommage an Canada's Heimatstaat Oklahoma. Mit an Bord hat er an der zweiten Gitarre niemand Geringeren als den großartigen Seth James (wir erinnern uns an dessen exzellentes Soloalbum "That kind of man" aus dem Jahre 2009), Cross Canadian Ragweed-Kollege Jeremy Plato am Bass, den bekannten, texanischen Studio-Drummer Dave Bowen am Schlagzeug und Steve Littleton an den Keyboards. Rootsrock, Americana, Countryrock, fetten Southern Rock, Singer/Songwriter, Heartland Rock, Boogie, akustische Laid Back-Nummern, Desert Rock und schnörkellosen Guitar Rock (wir erleben tierische, flammende, dreckige Gitarrenritte in Hülle und Fülle) - all das vereinen sie perfekt zu einem an Vielseitigkeit und Abwechslungsreichtum kaum zu übertreffenden "Red Dirt"-Rock "Killer"-Album. Famos!

Das komplette Tracklisting:

1 Call From Crouch (0.19)
2 Face In Mars (3.25)
3 Ballad of Rosalie (5.21)   
4 True Love Never Dies (4.28)
5 Home Sweet Oklahoma (4.26)
6 Make Yourself Home (4.29)
7 Long Way To Nowhere (3.26)
8 Call From Coop (0.16)
9 Starin' Down the Sun (4.39)   
10 Any Other Way (4.17)
11 Kickin' Back In Amsterdam (4.44)
12 Water Your Own Yard (4.14)
13 Years In the Making (4.20)
14 If You're Ever In Oklahoma (3.04)
15 A Little Rain Will Do (3.24)
16 Call From Skinner (0.47)
17 Skyline Radio (5.02)
18 Hold On Christian (8.29)

Art-Nr.: 7450
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
Ballad of Rosalie
True love never dies
Make yourself home
Starin' down the sun
Any other way
Years in the making
Skyline radio

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


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

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


Cash, Rosanne - the river & the thread ~ limited deluxe edition [2014]
Limited Deluxe Edition mit 3 Bonustracks (u.a. eine tolle Coverversion von Jesse Winchester's "Biloxi"), 36-seitigem Booklet, in einem sehr schön gestalteten, üppigen, Buch-ähnlichen Cover! Rosanne Cash's neues Album "The river & the thread" ist der wundervolle Abschluss einer Art Trilogie, mit den Vorgängerwerken "The list" und "Black cadillac". Wieder ist es ein sehr persönliches Album geworden, wieder ist es eine Art Tribut an die Vergangenheit und ihre Familie (großartig beispielsweise das emotionale "Etta's tune", eine herzliche Hommage an Johnny Cash's ehemaligen Bassisten Marshall Grant und dessen Frau Etta, die in Risanne's Kindheit oft als eine Art "Ersatzeltern" für sie da waren). Rosanne Cash begibt sich mit diesen herrlichen Songs auf eine Reise durch den amerikanischen Süden, eine Reise zurück in die Vergangenheit, in die Heimat ihrer Eltern. Erneut arrangiert und produziert von Gatte John Leventhal hat sie ein glanzvolles Werk edler Americana-, Country-, Alternate Country-Kunst geschaffen, mal ruhig und bedächtig, mal herrlich angerockt mit ganz feinen Melodien. Unter den musikalischen Gästen sind u.a. Derek Trucks (Tedeschi Trucks Band) mit vorzüglicher Slide-Arbeit bei dem swmpigen "World of strange design", sowie John Prine, Rodney Crowell, Kris Kristofferson, Tony Joe White und Amy Helm mit Background-Gesängen. Die Gitarrenpassagen kommen weitestgehend von John Leventhal. Mit "The river & the thread" präsentiert sich Johnny Cash's Tochter in einer erstklassigen, ja brillanten Verfassung.

Hier noch ein Original US-review:

On her first album since 2009's "The List," Cash takes a journey back home down the rivers of music, memory, loss, and longing that run in cascading shoals through Tennessee, Mississippi and Arkansas. Produced and arranged by husband John Leventhal, who also plays guitar on the record and co-wrote the songs, the album also features an all-star cast of backing musicians and singers, including Kris Kristofferson, John Prine, Amy Helm and Tony Joe White.
Leventhal's funky slide guitar kicks off the swampy shuffle A Feather's Not a Bird, a fitting opening track in which the journey carries the traveler on a sojourn of the soul "on through to Memphis/past the strongest shoals/then on to Arkansas just to touch the gumbo soul." On the journey, the singer learns "to love the thread" that weaves itself through her past, her physical and spiritual connections, creating the colorful pattern that binds her to the South in all its richness and strangeness. Modern Blue, to which her son Jake contributes background vocals, leads off with a John Hiatt-like riff in a rocker that ponders the curious yet gratifying feeling that you never leave home, and you always keep coming back home, no matter how far away you travel from it. The gospel-inflected 50,000 Watts celebrates Memphis radio station WDIA, which advertised itself as "50,000 watts of good will"; in When the Master Calls the Roll, Cash tells a poignant story of her ancestor, William Cash, a young Union soldier who perishes in the Civil War.
"The River & the Thread," the third in the trilogy that began with "Black Cadillac" in 2006 and "The List," album contains, without a doubt, her most reflective songwriting, in songs that range emotionally over a spiritual and physical terrain that haunts her.
(Henry Carrigan / Country Standard Time)

Das komplette Tracklisting:

1. A Feather's Not A Bird - 3:18
2. The Sunken Lands - 2:56
3. Etta's Tune - 3:44
4. Modern Blue - 3:01
5. Tell Heaven - 2:40
6. The Long Way Home - 3:17
7. World Of Strange Design - 3:24
8. Night School - 3:47
9. 50,000 Watts - 2:58
10. When The Master Calls The Roll - 5:06
11. Money Road - 4:00
12. Two Girls - 3:39
13. Biloxi - 3:25
14. Your Southern Heart - 2:08

Art-Nr.: 8436
Gruppe: Musik || Sparte: Rock; Country
Status: Angebot || Typ: CD || Preis: € 9,90

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


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:


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.


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.


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.


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.


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.


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.


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.


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.


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."


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.


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.


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

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


Foster, Ruthie - let it burn [2011]
Exzellentes, neues Album von der "phenomenal Ruthie Foster", wie ihr 2008 erschienenes Album zutreffenderweise heisst. Nun liegt mit "Let it burn" ihr 2012er Werk vor, das die fantastische, texanische Singer/Singwriterin, die zuletzt auch mit der Warren Haynes Band als Background-Sängerin ein paar Auftritte hatte, einmal mehr in blendender Verfassung zeigt. Voller Gefühl, innerer Kraft und mit einem immensen Charisma ausgestattet begibt sie sich auf eine recht intime, unwiderstehliche Reise zwischen den musikalischen Welten von Blues, Roots, Gospel und Soul. Dabei kommen die Songs, u. a. im übrigen ein paar hoch interessante, hinreissend umgesetzte Coverversionen von Los Lobos ("This time"), The Band ("It makes no fifference"), Johnny Cash ("Ring of fire") und der zur Zeit mega.erfolgreichen Adele ("Set fire to the rain"), in sehr natürlichen, erdigen, durchaus rauen "strpped down"-Arrangements, wirken aber dennoch irgendwie "tight" und knackig. Tolle Grooves, viel Soul- Gospel-, und ein schönes Southern-Flair sind stets vorhanden. Begleitet wird sie von tollen Musikern, wie dem grandiosen Bassisten der Meters, George Porter jr., dem fantastischen Organisten Ike Stubblefield, Dave Easley, der eine schön dreckige, wie eine Slide klingende Pedal Steel spielt und Russell Batiste an den Drums. Bei der ein oder anderen Nummer sorgen zudem die Blinf Boys Of Alabama für einen ordentlichen Gospel-Touch. Tolles Teil!

Hier noch die Original-Produktbeschreibung:

2012 release from the Soulful vocalist. Let it Burn is a deeply intimate recording: a smoky mix of original songs coupled with inventive interpretations of an unexpected collection of covers - ranging from Adele to Los Lobos, and from The Black Keys to Johnny Cash. Recorded in New Orleans at Piety Street studios, with a small group of A-List musicians that includes George Porter Jr. of the legendary Meters, this album takes the listener on Ruthie's most personal journey yet. With her deeply moving vocals at the core, Ruthie is supported along the way by some very special guests - gospel legends The Blind Boys of Alabama and Stax Records soul man William Bell.

Das komplette Tracklisting:

1. Welcome Home - 2:50
2. Set Fire to the Rain - 4:18
3. This Time - 4:48
4. You Don't Miss Your Water - 3:59
5. Everlasting Light - 3:33
6. Lord Remember Me - 3:11
7. Ring of Fire - 3:09
8. Aim for the Heart - 3:27
9. It Makes No Difference - 5:10
10. Long Time Gone - 5:14
11. Don't Want to Know - 6:20
12. If I Had a Hammer - 4:10
13. The Titanic - 2:50

Art-Nr.: 7682
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
Set fire to the rain
This time
Everlasting light
Aim for the heart
It makes no difference
Long time gone

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


Hoge, Will - the wreckage [2009]
Baumstarkes, neues Album von Will Hoge! Roots-/Heartland-/Americana-Rock "with a southern croon" vom Allerfeinsten! Der in Nashville lebende, amerikanische Songwriter hatte ja bereits mit dem Vorgängerwerk "Draw The Curtains", wie auch mit seinen übrigen Veröffentlichungen schon ganz exzellente Kost serviert und ist von uns und den Kritikerscharen zurecht mit Lobeshymnen überschüttet worden. Also beste Vorraussetzungen, um sich mit einem weiteren Silberling in der ganz oberen Riege seiner amerikanischen Kollegen zu etablieren. Doch leider sollte zunächst ein persönlicher Schicksalsschlag Hoge übel mitspielen. Während der Aufnahmen zu seinem neuen Album fuhr Hoge nach getaner Arbeit abends mit seinem Roller nach Hause und wurde von einem Van, der seine Bahn kreuzte, "volle Kanne" erfasst. Schwer blutend, mit mehreren Knochenbrüchen und zeitweise erblindet musste sich Hoge einem mehrmonatigem Krankenhausaufenthalt unterziehen. Die Rehamaßnahmen dauern bis zum heutigen Tage an. Damit hatte es sich mit "The Wreckage" (der Titel entstand in Anlehnung an seinen Unfall) erst einmal erledigt. Die Arbeiten waren zu diesem Zeitpunkt gerade zur Hälfte abgeschlossen. Dieses Ereignes bescherte Hoge, laut eigener Aussage, eine vllkommen veränderte Lebenseinstellung. Es setzte ein regelrechter Lernprozess ein. Für ihn, der eigentlich in achtzehn Jahren keinen Tag ohne Musik verbracht hatte, lag jetzt der Fokus komplett auf der persönlichen Genesung und dem Wohlbefinden seiner Familie. Acht Monate nach dem Unfall jedoch ging es dann, mental gestärkt, endlich zurück ins Studio, um das begonnene Werk zu vollenden. Und es ist ein absoluter Knaller geworden. Im Vergleich zum erfolgreichen Vorgänger wurde zwar personell nur marginal geändert (Ken Croomer und Charlie Brosco, die auch das kürzlich erschienene, klasse Album der Southern Rocker SwamDaWamp produzierten, sassen erneut an den Reglern; die meisten Musiker, wie u.a. Pat Buchanan, Ban Baird, Ken Croomer, Tim Marks, sind abermals mit von der Partie), das Ergebnis aber gestaltet sich noch einen Tick stärker als zuletzt und dank Hoge's, aus besagten Gründen sehr emotionaler Hingabe, um ein Vielfaches intensiver. Das ist schon eine Pracht-Leistung, die er hier abliefert. Tolles Songmaterial, mit saftigen, Gitarren-orientierten Arrangements, zumeist voller Kraft und mit gutem Drive, unterbrochen von der ein oder anderen Ballade, alles ungemein melodisch. Das Album startet mit dem flockig, aber knackig instrumentierten "Hard To Love", ein Stück in bester Bob Seger-Tradition im gehobenen Midtempo, mit einer klasse Pianountermalung, toller Melodieführung und einem starken Bariton-E-Gitarren-Solo. Weiter geht es in deftiger John Mellencamp-Manier mit dem schroffen, geradlinigen, einen tollen Drive aufbauenden, gnadenlos starken Roots-Rocker "Long Gone" (fettes Drumming, kreischiges E-Gitarren-Solo), der einmal mehr die ungeheure Vielseitigkeit Hoge's beweist. Hier geht's richtig zur Sache! Im Titelsong "The Wreckage" entladen sich dann alle erlebten Geschehnisse auf beeindruckende Weise, ohne dabei textlich auf das Vorgefallene einzugehen. Selten hat man Hoge so intensiv, introvertiert, emotional und doch voller kühler Melancholie singen gehört (ein wenig an Radney Foster und Kevn Kinney erinnernd), wie bei diesem Track. Eine dumpfe Akustikgitarre, ein dezentes Piano und eine kalt hallende Steelgitarre erzeugen eine ganz besondere, regelrecht mitfühlende Atmosphäre. Das ist große und bewegend performte Musik. Mit "Favorite Waste Of Time", "Even If It Brakes Your Heart" (mit dezentem Petty'schen "Into The Great Wide Open"-Flair) und "Highway Wings" bewegt sich Will in luftig instrumentierten, genauso knackigen, wie melodischen, rootsigen Mellencamp-/Chris Knight-Gefilden. Das atmosphärische "What Could I Do" steckt wieder voller eigenwilliger Melancholie, die von Jen Gunderman beigesteuerten Mellotron-Töne erzeugen Gänsehaut. Zusammen mit der bezaubernden Ashley Monroe (singt im Stile einer jungen Dolly Parton) präsentiert Hoge im Duett bei der wundervollen Ballade "Goodnight / Goodbye" entspannte, sehr melodische, großartige (Alternate)Countrymusic. Sein alter Weggefährte Dan Baird zupft hier die High String Guitar. Diese etwas besinnlichere Phase wird dann mittels "Just Like Me", einem forschen Rootsrocker an der Schnittstelle zwischen Neil Young und John Mellencamp, wieder abgelöst. Klasse hier das psychedelisch angehauchte, raue E-Gitarren-Solo von Pat Buchanan. Nach dem entspannten, wunderschönen "Where Do We Go From Now", kommt das wieder voller Atmosphäre steckende, balladeske "Too Late Too Soon", eindrucksvoll mit Gitarren (Southern Rock-kompatibles E-Gitarren-Solo), dumpfen Cello- und Bläsertönen in Szene gesetzt, sogar mit ein wenig Black Crowes-Flair rüber. Ein hervorragendes Album-Finale! Eigentlich ist Will Hoge's neues Werk angesichts der Vorgeschichte als reinstes Wunder zu bezeichnen. Woher dieser Musiker, der scheinbar wirklich am Rande des Ablebens taumelte, innerhalb so kurzer Zeit wieder die Kraft und Ideen zu solch einem starken Album schöpfte, verdient höchste Anerkennung und uneingeschränkten Respekt. Will Hoge hat sich mit diesem Werk endgültig in die Regionen der hier beschriebenen Bezugsgrößen katapultiert. Dieser Singer/Songwriter kann dem Vergleich mit den Mellencamps, Pettys Chris nights, Bob Segers, Dan Baidrs & Co. locker standhalten. Wir ziehen den Hut vor dieser Leistung und wünschen Will Hoge, auch wenn es sich im Fall von "The Wreckage" (das Wrack) schon fast makaber anhört, für seine zukünftige Entwicklung musikalisch weiterhin "Hals- und Beinbruch". Aber es wird schwer, dieses Werk zu toppen. Die Messlatte liegt verdammt hoch. Exzellenter Rootsrock-/Heartland-Rock-/rockin' Americana-Stoff (roadside Americana with the glory of Rock'n Roll", wie es ein U.S.-Kritiker nennt) zum Genießen, aufgemacht im feinen Digipack inkl. eingelegtem Faltblatt mit allen Texten und Infos! Brillant! (Daniel Daus)

Das komplette Tracklisting:

1 Hard to Love - 3:23   
2 Long Gone - 2:51   
3 The Wreckage - 3:33   
4 Favorite Waste of Time - 3:11   
5 Even If It Breaks Your Heart - 3:43   
6 What Could I Do - 4:28   
7 Goodnight/Goodbye - 4:24   
8 Just Like Me - 3:28   
9 Highway Wings - 3:24   
10 Where Do We Go from Down - 3:45   
11 Too Late Too Soon - 4:03

Art-Nr.: 6567
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 15,90

In folgende Titel können Sie reinhören:
Hard to love
Long gone
Favorite waste of time
Even if it breaks your heart
Goodnight / goodbye
Just like me

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


Horsehead - sympathetic vibrations [2012]
Grandios! Brian Robbins vom in Fachkreisen überaus renommierten Webzine "" ist völlig aus dem Häuschen und spricht von "one hell of an album". Man kann dies nur mit einem dicken Ausrufezeichen unterschreiben. Obwohl in der Breite noch immer weitestgehend unbekannt und lediglich unter Insidern ein Begriff, muss man das in Richmond/Virginia beheimatete Quartett Horsehead ohne jeden Zweifel als eine der stärksten und besten (Gitarren)Rootsrock-, Americana Rock-Bands der Gegenwart bezeichnen. Mit ihrem neuen Album "Sympathetic vibrations", ihrem bereits vierten, liefern sie (mal wieder) eine regelrechtes Musterbeispiel ganauso geradlinigen, straighten wie variantenreichen Rootsrocks ab. Nein, sie setzen Maßstäbe! 13 fantastische Songs präsentieren uns die Herren, genauso zeitlos wie aktuell, mal mit einem Hauch von Country- und Heartland Rock Anlagen, mal mit einem bluesigen Flair, staubig, erdig, "gritty", würzig, durchzogen von prächtig hängen bleibenden Hooklines und durchweg wunderbaren Melodien, dargeboten in vollendeter, musikalischer Qualität. Horsehead sind: Kopf, Produzent, Songwriter und Frontmann Jon Brown (lead vocals, guitar, percussion), Kevin W. Inge (lead guitar, pedal steel, piano, organ, background vocals), Randy Mendicino (bass) und Gregg Brooks (drums). Unterstützt wird die Band von einigen renommierten Gästen, wie zum Beispiel Drive-by Truckers' Jay Gonzales, der bei drei Stücken das Klavier bedient. Bestimmt werden die Arrangements vorwiegend von dem massiven, satten und dreckig erdigen Gitarrensound Brown's ind Inge's, die sich dabei vorbildlich ergänzen. Die Riffs stecken voller Saft und Kraft, die Lead Gitarren-Führung wirkt genauso spannend wie vertraut und eingängig, Dazu kommen einige herzhafte, flammende Soli, die die ganze Spielfreude der Band ausdrücken. Ergänzt wird dieses vielschichtige Gitarrengewand durch adäquat involvierte Klavier- und Orgel-Einsätze, und manchmal die herrlich eingebundene Pedal Steel von Kevin Inge. Es ist die pure Wonne dieser Band zuzuhören. Die Rolling Stones, Son Volt, Tom Petty & the Heartbreakers, The Band, The Black Crowes, The Jayhawks, Dan Baird, John Hiatt, die Bottle Rockets, Neil Young's Crazy Horse, alle hinterlassen irgendwie ein paar Spuren, aus denen Horsehead schließlich ihren unwiderstehlichen, eigenen Stil kreieren, der nur nach ihnen selbst klingt. Jon Brown drückt es so aus: "We don’t sound like anyone else, we sound like Horsehead". Ein paar Songbeispiele: "Darkened streets" ist ein ungemein erdiger, kraftvoller, mitreissender Rootsrocker mit einem leichten, unterschwelligen Crazy Horse- und Stones-Touch. Massive Gitarren bestimmen das Geschehen, die Melodie ist exzellent. Jon Brown singt großartig, Kevin Inge brilliert mit einem begnadeten, glühenden Gitarrensolo voller Leidenschaft - es ist eine Pracht. Das Feuer der Band springt unmittelbar auf den Zuhörer über. Wundervoll! Das anschließende, voller Dynamik und Schwung losrockende "Emptiest arms in the world" knüpft nahtlos an den Vorgänger an. Ein furioser, melodischer, abgehender "American Rock'n Roller" mit herrlichen Lead Gitarren-Linien und kernigen Riffs. Geradezu magisch schraubt sich der Song in unsere Gehörgänge und will nicht mehr weichen. Hammer! Einen Hauch von Countryrock-Feeling versprüht das mit traumhaften Pedal Steel-Klängen verzierte "Get up". Beginnt wunderbar locker und flockig, wird zum Ende hin aber immer kraftvoller, dabei jedoch nicht weniger melodisch. Auch ein gewisses Heartland-Flair ist spürbar. Klingt fast wie eine Synthese aus Anlagen von Bruce Springsteen und den legendären New Riders Of The Purple Sage. Geht nicht? Und wie das geht! Horsehead kriegen das in beeindruckender Manier hin. Ultrastark auch der von gewaltigen, fetten Riffs bestimmte, straighte Rootsrocker "Big sun" mit seinem mächtigen, nach vorn gehenden Drumming. Inge spielt abermals ein tolles Gitarrensolo. Schön hier der dezent psychedelische Retro-Touch und die feinen Klavier-Ergänzungen. Das letzte Stück der Scheibe, die großartige Ballade "Candy (by the side of the west highway) bewegt sich schließlich im schönen Roots-Fahrwasser der unvergessenen The Band. Doch welchen Song man sich auch anhört, einer ist stärker als der andere. Die Truppe besticht mit unglaublicher Qualitäts-Kontinuität. Keine Frage, "Sympathetic Vibrations" ist ein absolutes Rootsrock-/Americana Rock-Meisterwerk!

Hier noch das eingangs erwähnte, begeisternde Review von "" im Original:

Go ahead – reel off your favorite alt-country/Americana/whatever-you-want-to-call-it albums of all time … the seminal statements of the genre. What would be on the list? Son Volt’s Trace ? Whiskeytown’s Faithless Street ? Hollywood Town Hall by The Jayhawks? Wilco’s A.M. ? Whatever the albums are, what about them grabs ahold of you? Smart lyrics and a stone-real delivery? A haybale punk vibe? Garage pop crossed with Exile On Main Street -style cellar funk? Twanging crunch? Crunchy twang?

Here – have some of all of the above. World, meet Horsehead. The album is Sympathetic Vibrations – their fourth – and I humbly offer it up as being real and good and raggedy and right.
Sympathetic Vibrations delivers – name your poison, bucko. The album enters softly with “Moving Target” – just Horsehead principals Jon Brown and Kevin W. Inge (the self-proclaimed “Dimmer Twins”). Brown leads the way on vocals with acoustic guitar in hand, while Inge infuses the tune with wisps of keys and lovely pedal steel. By the way, it’s worth noting that the frigging guy – Inge – basically taught himself pedal for this album. If you’re not familiar with the beast’s workings – foot pedals, knee levers, ten strings and all – then Inge’s accomplishment might be lost on you. Trust me – there are folks who’ve been pickers all their lives who wouldn’t dare get near a pedal steel in a recording studio. Inge may be a rookie steeler, but he handles it like a seasoned pro, adding washes of sparkle amongst the grit on “Get Up” and putting the thing on full stun for “Spinning Your Wheels” with a slightly raspy-voiced tone that is absolutely beautiful.

Brown is the band’s lead voice and tunesmith. The album’s 13 cuts show he knows how to convey his songs’ souls (and the characters who inhabit them) in short order – from the heartbroke, dirt-streaked weariness of “God Damned The Rain To Fall” (Travis Rinehart’s guest banjo completes the picture) to the ominous won’t-take-no-for-an-answer stalk of “Sweet On You”. On “Emptiest Arms In The World” Brown delivers the goods with flannel-shirted soul and the confidence of a man who could rebuild his own carburetor. And the good-byes of “Candy” leave you wishing him well and hoping like hell that he and that gal end up together in a good place.

Bassist Randy Mendicino ended up swapping rhythm partners midway through the Sympathetic Vibrations session when longtime drummer Andre LaBelle left the band and Gregg Brooks settled in behind the kit. It’s a tribute to all three that the transition was a seamless one and only the liner notes tell the tale – there are no obvious splits between the Mendicino/LaBelle and Mendicino/Brooks tunes. Dig the nuts-on lurch of “Darkened Streets” (think vintage Molina/Talbot slam – and listen for the “Norwegian Wood” tease in the guitar break); the driving rhythm of “Running For The Door” tears along like a cousin to Tommy Tutone’s “867-5309” before Brooks and Mendicino shift gears and go into full surf mode; “Wasting Time” is big and majestic – beat-down, but not without pride just the same.

Multi-instrumentalist Inge (we’ve already discussed his grossly-amazing pedal steel contributions) is all over this thing: doubling up with Brown on guitar here … adding some organ here … a bit of piano here … a master of divining what a particular tune needs – no more and no less. Horsehead buddy (and Drive-By Trucker) Jay Gonzales sits in on piano for a couple of tunes, the most notable being the walloping rocker “Big Sun”.

“Big Sun” alone could sell you on Horsehead: wicked grab-you-by-both-ears opening guitar riffs; big bass swoops and straight-ahead drumming; enough crash-and-thrash to get your attention before settling into the palm-muted chug of the verses. Brown tells his tale perfectly about the folder at a laundromat who “smelled of soap and cigarettes.” It’s obvious the story can go only go one way – and the fact that the song evolves into a total guitar workout is the perfect way to tell the tale. The song fades at about the 5-minute mark, but comes roaring back with an eff-you-we’re-not-done attitude: Mendicino and Brown join forces while Brooks rolls and tumbles in glorious drum ecstasy; and Inge simply plays the piss out of his six-string. Of all the titles Horsehead wears well, “Big Sun” proves that above all, they are one hell of a rock and roll band.

And beyond that, Sympathetic Vibrations is one hell of an album.

(Brian Robbins)

Das komplette Tracklisting:

1. Moving Target - 2:42
2. Darkened Streets - 5:07
3. Emptiest Arms in the World - 3:40
4. Hard Hand to Hold - 4:40
5. Get Up - 4:11
6. God Damned the Rain to Fall - 3:56
7. Running for the Door - 3:50
8. John Adams - 4:32
9. Spinning Your Wheels - 3:34
10. Big Sun - 6:14
11. Wasting Time - 5:04
12. Sweet On You - 3:19
13. Candy (By the Side of the West Highway) - 4:00

Art-Nr.: 8055
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 15,90

In folgende Titel können Sie reinhören:
Darkened streets
Emptiest arms in the world
Hard hand to hold
Get up
Running for the door
Big sun
Candy (by the side of the west highway)

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


House and The Blues Cowboys, James - same [2018]
James House, eigentlich im Country zuhause und einer der gefragtesten Songwriter Nashville's, gelingt mit seinen großartigen "Blues Cowboys" ein famoser "Sidestep" in, der Name der Formation lässt es schon vermuten, die Gefilde des Blues und Bluesrocks. Wenn man das hier hölrt, kann man kaum glauben, dass der Bursche etwas mit Country am Hut hat. Denn was er hier abliefert ist rauer, dreckiger, erdiger, Staub- und Whiskey-gegerbter, ungeschliffener Rootsrock, Bluesrock und Southern-Blues voller natürlicher Ecken und Kanten. Die Songs sind kompakt und stark geprägt von dem rauen Gesang und dem klasse (Slide)-Gitarrenspiel des Protagonisten. Das ist der erdige Blues(rock) aus den Honky Tonks Nashville's.

Hier zwei Original-Reviews aus den USA:

Like many in Nashville, James House has a built a career of writing hit songs for others. If you’ve not heard of House, you have probably heard these tunes that have reached well int the millions for radio spins – “A Broken Wing,” “Ain’t That Lonely Yet” and “In a Week or Two.” Count Rod Stewart, Tina Turner, The Mavericks, Dwight Yoakam and Martina McBride, among others who have benefitted from House’s pen. Yet, this prolific and versatile musician has a powerhouse Michael McDonald -like voice that should have him in the lead role more often. His recent work writing for Joe Bonamassa and Beth Hart had fans wanting House to do his own blues, roots-rock album. And, like so many in Nashville, who ply their craft in country and Americana worlds, House has always had a love for the blues and it’s been an undercurrent for much of his work. Thus, the self-titled James House and the Blues Cowboys. The Blues Cowboys is indeed a touring band (more on that later) but these sessions were built around some of the best musicians in Music City. House lured them to his studio, Cabin in The Woods, located in a rural area of Nashville. Will Kimbrough plays lead guitar on the first five tracks (side A) while A-list session guitarist Kenny Greenberg joins blues guitarist Todd Sharp on the last 5 tracks (side B). Mike Bradford (Uncle Kracker) plays bass throughout as does drummer Crash Jones. Nashville’s most in-demand fiddler Eamon McGloughlin sits in on Side A while House sings and plays his Fender Strat and organ throughout. That kind of arsenal is built for fire and the sparks fly immediately on “Jail House Blues” with House wailing on lines like these – “Mama killed Daddy in self-defense/Never was one to sit on the fence” as Kimbrough’s slide duels with House’s guitar. “Arkansas Woman’ and “Ain’t No Way” continue the soul aching blues vibe until reaching on of disc’s outstanding tracks “Long Way Down.” It’s taken at a slower, haunting tempo as if John Lee Hooker were singing verses from William Faulkner. “Well Ran Dry” on Side B carries a similar approach. How about this lyric? “I’m an empty soul/At the holy water bowl/Waiting on a rising tide.” Other highlights on Side b include the more roots driven “Gone Again” and the rock tune “Ballad of the TKIngs,” short for Troubadour Kings. Now, let’s go to the touring Blues Cowboys. Singer/guitarist Roddy Romero who just joined Yvette Landry for her recent release, if from Lafayette Louisiana as is lesser know drummer/percussionist Smoove Ras. They back House on the final cut, “What Side of the River Are You on?” the song was inspired by House attending the Buddy Holly Songwriting Retreat and listening to Mary Gauthier sing Guthrie’s “This Land Is Your Land” along the river in Lafayette. In a songwriting meeting with Romero and Ras, his vision for The Blues Cowboys was shaped. Great songs, achingly powerful vocals, and first-in-class musicians make this a terrific album. House has already indirectly put his stamp on contemporary blues with his work with Joe Bonamassa and Beth Hart. Now he’s set to make his mark directly with the Blues Cowboys. - Glide Magazine

James House deserves to be better known — or, more accurately, known more widely. He’s co-written several songs with blues guitarist Joe Bonamassa, including Bonamassa’s recent song “Redemption.” House is also a Grammy-, CMA-, and ACM-nominated songwriter, but on his new album, James House and The Blues Cowboys, he weaves rock, blues, and roots music into a colorful pattern that reveals many facets. House’s powerful, sometimes raw, vocals dominate, and he can moan with the best blues-shouters but can be as tender as the best of the balladeers. The new album serves as a showcase for his songwriting, singing, and guitar work. He gathered a group of world-class musicians — Will Kimbrough, Kenny Greenberg, Lou Toomey, Todd Sharp, Roddie Romero on guitars; Michael Bradford and Mike Brignardello on bass; Eamon McLoughlin on fiddle; Crash Jones and Smoov-Ras on drums — at his studio, Cabin in the Woods, to record the album. The album opens with a can’t-sit-still, shake-us-to-our-core blues rocker “Jail House Blues.” The raucous, bone-shaking song lifts us so high, we wonder if it can get any better than this. It does. “Long Way Down” opens with a slow funk with blues moan, but then escalates to a burning rocker in the chorus and the bridge, fueled by guitars reminiscent of Alvin Lee and Ten Years After. “Good Love” features a spacious, atmospheric vibe that allows House’s raw vocals to breathe and to call and respond to Kimbrough’s lead riffs. “Arkansas Woman” is one of the highlights of the album. There’s a place for every note, every chord, and every word, and the song wrings every emotion out of us by its end. Kimbrough’s soulful lead guitar brings this song to life in a way such that every note he plays makes a statement. While some of the playing is reminiscent of Eric Clapton’s leads, the difference here is that Kimbrough never wastes a note; both he and Clapton play clean and crisp, but while Clapton’s crispness is soulless, Kimbrough’s inhabits our souls and hearts and touches us with its depth. The layered riffs that open “Boomerang” mirror the action of the object itself — the riffs always come back, circling around and flying high before returning to start over again. The propulsive tune mimics the halting/forward-moving character of love: “We keep coming back to you and me.” The scalding lead riffs on the song’s bridge balance the pain of leaving with the tentative joy of returning and the inability to throw love far away; it always returns to you. “Which Side of the River You On” turns in a down-and-dirty, funky twist to that old folk tune by Florence Reece, “Which Side Are You On?” In this tune, which House co-wrote with Roddie Romero and Joshua Martin, and which features Romero and Smoov-Ras, shimmers with a roiling slide guitar, and with an insistent funk beat asks, “which side of the river you on / Ain’t saying which is right or wrong / When the flood comes down / It’s too late to get to higher ground.” Listen to this album! Words can’t always describe how perfect, how moving, how powerful some of the songs on the album are. James House and The Blues Cowboys is an album that’s meant to be played and to be played loud, and it won’ let you forget James House. - No Depression / By Henry Carrigan, Staff Reviewer

Das komplette Tracklisting:

1. Long Way Home - 3:06
2. Arkansas Woman - 3:11
3. Ain't No Way - 3:09
4. Long Way Down - 3:42
5. Good Love - 3:47
6. Moving on Over - 3:59
7. Well Ran Dry - 3:31
8. Gone Again - 4:13
9. Boomerang - 3:07
10. Ballad of the Troubadour Kings - 3:40
11. Which Side of the River - 3:47

Art-Nr.: 9680
Gruppe: Musik || Sparte: Rock
Status: Neuheit || Typ: CD || Preis: € 15,90

In folgende Titel können Sie reinhören:
Long way home
Arkansas woman
Ain't no way
Long way down
Movin' on over
Well ran dry
Which side of the river

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


Indigenous - indigenous ~ featuring mato nanji [2012]
"Mato Nanji's always provided the heartbeat of the band Indigenous - along with the warm dusty voice and the soaring, spirited guitar fireworks that have earned the group from South Dakota's Nakota Nation a place among roots and blues rock's elite". Ja, Indigenous sind allein Mato Nanji's "Baby" und mit ihrem neuen Album gelingt der in Roots- und Bluesrock-Kreisen so gefeierten Band erneut ein Meilenstein ihrer bisherigen Karriere. Nach den feinen "Acoustic sessions" aus dem Jahre 2010 kehren Gitarrenhexer Mato (zudem ein vorzüglicher Sänger und Songwriter), sein Cousin, der exzellente Percussionspieler "American Horse", beide dem Stamm der Nakota-/Sioux-Indianer angehörend, mit ihren Freunden Jeff Martin (drums), Steve Evans (bass) und Jesse Bradman (organ) zu dem von der Band so geschätzten, fetten, druckvollen und teilweise auch schön jammigen, zündenden Bluesrock zurück, der zuweilen auch von einem schönen Roots-Feeling durchzogen ist. Mato Nanji's atemberaubendes, nicht selten an Stevie Ray Vaughan erinnerndes Gitarrenspiel (andere Einflüsse sind solche Gitarristen und Musiker wie Johnny Winter, Jimi Hendrix, R. L. Burnside und Jr. Kimbrough) kommt mit mehr Spirit und Feeling als je zuvor. Die Soli sind begnadet. Klasse auch die immer wieder wahrzunehmende, toll abgestimmte Orgel-Untermalung, die den Sound von Mato's meisterlichem Gitarrenspiel noch fetter werden lässt. Die Songs haben ordentlich Power, die Balance zwischen furiosen Uptempo-Nummern und zwei/drei rootsigen, traumhaften Balladen stimmt, und die Melodien sind vorzüglich. Das Album ist ungemein rockig, hat aber auch einen seeligen Blues. Es passt einfach alles! Los geht's mit dem tierisch groovenden, kraftvollen, von mächtigen E-Gitarren bestimmten Bluesrocker "Free yourself, free your mind", dem man ein leichtes Shuffle-Feeling anmerkt. Kerniges Drumming und herrliche, jammige Percussion unterstützen das packende Gutarrenspiel von Mato und Jonny Lang. Jawohl, der einstige "Wunderknabe" des Blues ist als Gast bei diesem Stück dabei und kehrt hier in beeindruckender Art und Weise zu den erdigen Bluesrock-Roots seiner Anfangstage zurück. Die beiden liefern sich prächtige Gitarrenduelle und wechseln sich auch beim Lead-Gesang ab. Gleich zu Anfang ein absoluter Volltreffer! Und es geht ohne einen einzigen schwachen Song bis zum Ende mit viel Abwechslung weiter. Ob beispielsweise der hammerstarke Bluesrock-Boogie "Everywhere I go" (tolle Melodie, guter Druck, baumstarke Lead Gitarre, schöne Orgel), das donnernde, von wuchtiger "Native Percussion" begleitete "Someone like you" (raue, dreckige, harte Gitarrenriffs, furioses Solo), die hinreissend schöne, erdige, dabei aber traumhaft melodische, rootsige Southern-/ Slow Blues-Ballade "Wake up" (hat ein herrliches Southern-Feeling,, als sei sie aus einer gemeinsamen Session der The Allman Brothers Band, Gov't Mule's und Stevie Ray Vaughan's hervor gegangen, Mato's ausgedehnte Gitarrenausflüge und -linien sind von beeindruckender Brillanz, schöne Orgel- und Percussion-Begleitung), oder der krachende, ordentlich abgehende Blues Rock'n Roller "By my side" (geht fett in die Beine, klasse Melodie, lichterloh brennende Gitarrensoli) - ein Highlight jagt das nächste. Dazu ist das Album mit satten 70 1/2 Minuten prall gefüllt. Und, wie gesagt, Ausfälle sucht man vergebens. Mato Nanji's Indigenous mit einem neuen "Killer"-Teil!

Das komplette Tracklisting:

1.   Free Yourself, Free Your Mind - 5:06
2.   Everywhere I Go - 5:22
3.   Jealousy - 5:59
4.   Someone Like You - 5:30
5.   I Was Wrong to Leave You - 6:35
6.   No Matter What It Takes - 4:05
7.   Storm - 4:25
8.   Find My Way - 5:54
9.   All Those Lies - 5:34
10. The Way I Feel - 5:09
11. Wake Up - 6:23
12. By My Side - 3:46
13. When Tomorrow Comes - 6:33

Art-Nr.: 7789
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

In folgende Titel können Sie reinhören:
Free yourself, free your mind
Everywhere I go
Someone like you
I was wrong to leave you
Find my way
The way I feel
Wake up
By my side

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


Mavericks, The - in time [2013]
"The Mavericks are back, and they are better than ever"! Was ist das für ein großartiges Album! Rund 8 Jahre waren sie getrennt, rund 10 Jahre gab es kein Album von ihnen. Nun kommt mit dem geradezu famosen "In time" das "Comeback"-Album der einzigartigen Truppe um den grandiosen Sänger Raul Malo, ein Werk das locker an die ganz großen Zeiten von Hits wie "What a crying shame", "There goes my heart" oder "Dance the night away" anknüpft. Und trotzdem strotzt ihr unverwechselbarer Sound, diese mitreissende Kombination aus traditionellem Roadhouse-Honky Tonk, froh gelauntem, teils etwas nostalgisch anmutendem Rockabilly-Rockl'n Roll und feurigem, schmissigem Tex-Mex nur so vor Frische. Es scheint als hätten sie mehr Spaß miteinander als je zuvor - und das kommt in beeindruckender Art und Weise rüber. Man muss sich nur solche herrlichen Stücke wie das schmissige "Back in your arms again" oder das traumhaft melodische "Born to be blue" anhören - es ist eine Wonne! Die internationale Presse ist voll des Lobes. Die neuerliche Zusammenkunft der Mavericks ist nicht nur wieder irgend so eine "langweilige" Reunion, nein, diese Truppe steht mit ihrer wunderbaren Musik voll im Saft und sprüht nur so vor Spielfreude. Einfach wundervoll! Die Fans dürfen jubeln...

Aus der offiziellen Produktbeschreibung:

2013 release, the first album in 10 years from the reunited Country/Rock outfit led by Raul Malo. Again drawing on myriad influences - from Buck Owens' tonk to Roy Orbison's heartbreak, Ravel's eroticism to Buena Vista Social Club's infectious rhythms, Patsy Cline's brazen emotion and that little Mavericks' magic. For their first sessions in almost a decade, it was spontaneous combustion; literally, the band falling into step with the euphoria they were known for. And they built quite an album from there. ''It took life for us to get to this point everybody was so free. From the first notes, it sounded like an explosion of sound; we went where the songs took us with a singularity of purpose. We came in to make music as grown-ups, to make music as men.'' Raul Malo (lead singer)

Das komplette Tracklisting:

1. Back in Your Arms Again - 4:20
2. Lies - 3:33
3. Born to Be Blue - 3:30
4. Come Unto Me - 4:28
5. In Another's Arms - 3:32
6. Fall Apart - 3:06
7. All Over Again - 3:57
8. Forgive Me - 3:21
9. Amsterdam Moon - 2:38
10. That's Not My Name - 3:07
11. As Long as There's Loving Tonight - 3:25
12. Dance in the Moonlight - 5:05
13. (Call Me) When You Get to Heaven - 8:16
14. Ven Hacia Mi [Come Unto Me] - 4:26

Art-Nr.: 8077
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 15,90

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


McKenna, Lori - bird and the rifle [2016]
Lori McKenna's neues Album "The bird & the rifle" zeigt die begnadete Singer-Songwriterin wieder einmal in bestechender Form. In 10 wunderbaren, neuen Songs, dargeboten in einem exzellenten "stripped down full band arrangement" nimmt sie uns mit auf eine faszinierende Reise zwischen Country, Alternate Country und Americana, erstklassig produziert von dem umtriebigen, in der Szene zur Zeit mega-angesagten Dave Cobb (u.a. Jason Isbell, Chris Stapleton, Mary Chapin Carpenter), der auf dem Album auch nahezu alle Gitarren- und viele Keyboard-Parts übernommen hat. Die Stücke punkten mit wunderbar entspannter Instrumentierung und großartigen Melodien. Die Hitlieferantin für so viele Nashville-Stars ist selbst eine charismatische, fantastisch singende Interpretin, was sie mit diesem tollen Album einmal mehr eindrucksvoll unter Beweis stellt. Sehr, sehr schön!

Hier noch ein vorzügliches U.S.-Review im Original:
Lori McKenna's back story is a country song brought to vivid yet unaffected life. Married with five children, the Massachusetts native began exploring her longstanding musical gifts - she wrote her first song at 13 - by playing for family and friends, who then forced her to attend a regional coffee house open mic. After two years of regular gigging with her poignant songs of everyday life and becoming a favorite among Boston folk fans, McKenna self-released her debut, "Paper Wings and Halo," then signed with Signature Sounds for her next three albums. Lightning struck when Faith Hill covered three McKenna songs on 2005's "Fireflies," which led to McKenna's opening gig for Hill and Tim McGraw's Soul2Soul Tour and a short-lived Warner Brothers contract. McKenna's last three albums have been indie releases, but her songwriting star continues to shine brightly; she's been covered by or contributed to over 30 artists, including Carrie Underwood, Keith Urban, Hunter Hayes and Alison Krauss, and just this year, she was Grammy nominated twice for her work on Little Big Town's "Girl Crush," winning for Best Country Song. "The Bird & the Rifle," produced by the perpetually busy Dave Cobb, shows once again that the amazing accomplishments she's notched over the past two decades have had little impact on her homespun, heartfelt perspective and presentation. Her wheelhouse has always been first person, mid-tempo reflections on the scuffed beauty and honest travails of day to day living, as evidenced by the lead track and first single, "Wreck You," where the song's narrator details a deteriorating relationship. The title cut examines a similarly troubled marriage from the viewpoint of the titular props, but quiet hope permeates "Always Want You," a little less quietly in "All These Things." Like McKenna's entire catalog, "The Bird & the Rifle" is gorgeously melancholy, a perfect snapshot evocation of life in all its imperfections, and her songwriting success is the small print of the American Dream, written parenthetically underneath the titles of a hundred songs we know and love and live. (Brian Baker / Country Standard Time)

Das komplette Tracklisting:

1. Wreck You - 3:18
2. The Bird & The Rifle - 4:24
3. Giving up on Your Hometown - 3:15
4. Halfway Home - 4:19
5. Humble & Kind - 4:03
6. We Were Cool - 3:22
7. Old Men Young Women - 3:42
8. All These Things - 3:05
9. Always Want You - 4:06
10. If Whiskey Were a Woman - 3:22

Art-Nr.: 9239
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 14,90

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


Nail, David - fighter [2016]
Viertes Studioalbum des großartigen, "Grammy nominated" Sängers, der in den letzten Jahren zu einem, mit großen Charterfolgen aufwartenden, festen Bestandteil der Countryszene Nashville's geworden ist. Als Vertreter des "New Contemporary Country" koppelt David Nail überaus geschickt traditionelle Country-Grundlagen mit gepflegten, nicht allzu bombastischen, leicht poppigen Einüssen, ohne sich dabei jedoch "zu weit aus dem Fenster zu lehnen" und die Countrypfade zu weit zu verlassen. Das gelingt auch auf seinem neuen Werk "Fighter" wieder mit ausgezeichneter Qualität. Nail ist ein prächtiger Sänger, dem man all das, was er vorträgt auch wirklich abkauft. Er wirkt genauso emotional, wie authentisch und immer glaubwürdig. Das Songmaterial ist auf höchstem Level und sehr abwechslungsreich, geht von äußerst knackigen, fröhlichen Uptempo-Nummern wie das herrliche, wunderbar melodische und jede Menge gute Laune freisetzende "Good at tonight" (eingespielt zusammen mit Brothers Osborne) bis hin zu hinreissenden "Storytelling-Ballads", wie das fantastische, zusammen mit Lori McKenna (hat die Nummer auch mit komponiert) vorgetragene "Home" - und allem was dazweischen liegt. Da werden wieder jede Menge Hits abfallen, wie auch schon das so prima ins Ohr gehende, frische, kraftvolle "Night's on fire". Klasse Album! Eine absolute Glanzleistung von David Nail!

Hier noch ein Original U.S.-Review:

A singer's believability is essential to the success of any album, and David Nail has a way of persuading us that every word he sings on his "Fighter" comes straight from the heart. And it doesn't hurt that the songwriting contained within is topnotch throughout.
Two songs, in particular, go straight to the heart in addition to being heartfelt. "Home," which Lori McKenna both sings on and co-wrote, is the first song on this record that will absolutely stop you in your tracks. Built upon a stately acoustic guitar backing, after a lovely piano intro, the song's lyric beautifully personifies one's hometown in its chorus. "And you think it will forget you when you go/But you know it will take you back in." Sometimes, the place where you come from becomes as close as a blood relative, or as the lyric states it, is like "your oldest friend." With its keen insight, this song will remind you of Eric Church at his best.
"Babies," which describes how Nail became "a better kind of crazy" after having children, is the other song that touches all the right nerve endings. "Good things come to those who wait," he tells us in the chorus, "I used to think that's just something people say." Knowing Nail is actually a recent new father (twins in December 2015), only gives this song's personal lyrics all the more emotional weight.
Nail closes with "Old Man's Symphony," which doubles as a both a brief career overview, and also an ode to his father. Sung over finger picked guitar, before incorporating unobtrusive strings, the song eventually builds into a kind of folk-country symphony, if you will. It's a sweet, humble and sincere way to close an album.
The only misstep on "Fighter" is "Night's On Fire," which has one of those loud choruses that sounds more like a big Taylor Swift pop production number and jarringly contrasts with the (mostly) low key and overall uncomplicated production approach. It comes off as momentary compromise, on an otherwise uncompromising project.
Nail is not a name that usually gets mentioned (along with Chris Stapleton, Sturgill Simpson) when potential saviors of modern country music get mentioned, but "Fighter" is an album that proves this man now needs to be a part of that conversation.
(Dan MacIntosh/

Das komplette Tracklisting:

1. Good At Tonight [feat. Brothers Osborne] - 3:30
2. Night's On Fire - 3:09
3. Ease Your Pain - 2:58
4. Home [feat. Lori McKenna] - 5:55
5. Lie With Me - 2:50
6. I Won't Let You Go [feat. Vince Gill] - 5:32
7. Fighter - 4:36
8. Babies - 3:24
9. Got Me Gone - 3:11
10. Champagne Promise - 3:54
11. Old Man's Symphony [feat. Bear and Bo Rinehart] - 3:44

Art-Nr.: 9228
Gruppe: Musik || Sparte: Country
Status: Angebot || Typ: CD || Preis: € 6,90

Zurück zum Artikel

Zusätzliche Aktionen:
Interpret oder Autor in anderen Rezensionen anzeigen!
Titel in anderen Rezensionen anzeigen!
Durch Rezension als ähnlich eingestufte Artikel anzeigen!
Zusätzlich zu diesem von anderen Kunden erworbene Artikel anzeigen!


|| Weiter