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Allman Brothers Band, The - boston common 8-17-71 [2007]
Legendäre Show der Band in Originalbesetzung aus Boston/Massachusetts vom 17. August 1971, gut 2 Monate vor dem tragischen Tod des unvergessenen Duane Allman. Die bis 2007 in den Archiven der Band "schlummernden" Aufnahmen wurden vor 7 Jahren erstmals veröffentlicht, waren aber sehr schwer zugänglich, da sie ausschließlich über die der Band zugehörigen Website "Hittin' The Note" zu einem recht teuren Preis erhältlich waren. Nun hat sich die Band entschlossen, diese Aufnahmen auch für den Vertrieb ausserhalb ihrer Website freizugeben. Gut so! Auch wenn dieser Mitschnitt nichts für absolute Soundfetichisten ist (es gibt ein paar leichte Schwankungen, dennoch sind sie sehr gut hörbar und durchaus in Ordnung) wirken diese Aufnahmen ungemein authentisch und überaus lebendig. Die Band vermekt dazu im Booklet: "This CD was compiled from two analog master 7 1/2" IPS 1$" stereo reels. Great care was taken to improve the sonic quality of the tapes to achieve a pleasing audio experience. The inherent shortcomings of 35 year old tape & the live concert setting may be noticeable to the listener. We hope the performance more than makes up for these flaws". Das können wir nur bestätigen. Ja, es gibt ein paar leichte Beeinträchtigungen im Sound aufgrund der Lagerung und des Alters der Tapes, doch das macht die einzigartige Performance der Band mehr als wett. Enthält eine exzellente 26 Minuten-Fassung von "You don't love me". Toll, dass diese Azufnahmen endlich zu normalen Konditionen und Bedingungen erhältlich sind.

Die offiziellen Angaben zu der Veröffentlichung von "Hittin' The Note":

In the history of rock music, certain bands and certain cities are forever linked. With the Beatles and the Rolling Stones, it was London; for the Grateful Dead and Jefferson Airplane, it was San Francisco. With the Allman Brothers Band, Macon, Georgia usually comes to mind first, but there is another metropolis that the ABB has been associated with from the group’s onset: Boston, Massachusetts. 37 years ago, a visceral connection was made between band and city that has remained strong and vibrant to this very day.
Formed in Jacksonville, Florida in late-March 1969, the Allman Brothers Band – guitarists Duane Allman and Dickey Betts, Gregg Allman on vocals and keyboards, Berry Oakley on bass, and drummers Jaimoe and Butch Trucks – eventually would revolutionize the American music scene with their wicked and volatile blend of improvised rock, blues, country and jazz, and their live performances would soon become the stuff of legend. After re-locating to Macon, the band played a handful of shows in Florida and Georgia before journeying up the coast for their first-ever gig in the Northeast, which would be at a club called the Boston Tea Party, in May 1969.
The Boston Tea Party was a squat, brick building with white trim and two flights of stairs, which made the load-in of Gregg’s Hammond B-3 organ a major challenge. The ABB opened two shows for the Velvet Underground over Memorial Day weekend, and so impressed Don Law, the owner of the Tea Party, that he asked them back three weeks later to open for Dr. John. Without enough money to travel home to Macon and back again to Boston, or rent hotel rooms, the band crashed at an abandoned tenement building in a rough neighborhood on Kempton Street, and during this stay Dickey came down with a severe case of hepatitis. Itching to play anywhere, the group loaded up their gear and headed over to Boston Common for a free jam on Saturday, June 7th. The oldest public park in the nation, Boston Common’s rambling 50 acres was an idyllic setting for the ABB’s free-flowing music, and they were warmly received. After returning to the Tea Party for their three-show stand with Dr. John, the word was out in Boston – the Allman Brothers Band was the real deal.
The ABB began the arduous task of building their reputation one show at a time, city by city, and Boston became a favorite and frequent stop. They would appear at the Tea Party five more times in 1969, and played several more free shows in Boston Common, where they forged a mutual admiration with the J. Geils Band, a local favorite of the Boston music crowd. In 1970, they hit Boston Common on August 14th, played three shows at the Tea Party just before Thanksgiving, and had their first gig at the city’s Hynes Auditorium on December 14th.
1971 was a watershed year for the Allman Brothers Band – they recorded their seminal live album, At Fillmore East, in March, and continued to tour relentlessly. By this point, their performances had reached a level of musicianship and intensity of which other groups could only dream. At Fillmore East was released in July to massive critical acclaim, and a month later, they rolled back into Boston to once again jam in the Common, playing two shows on August 17th. Boston Common 8/17/71 manages to capture the loose and easy first set, with the band clearly enjoying themselves – Berry’s stage banter is particularly engaging as he comments on the group’s relationship with Boston and their friendship with the J. Geils Band. As for the music, Duane’s slide guitar is blistering on "Statesboro Blues" and "Don’t Keep Me Wonderin’"; his interplay with Dickey on "You Don’t Love Me" is a complex masterpiece, and their dual melody line on "In Memory of Elizabeth Reed" is flawless. Gregg’s vocal work is stellar throughout, and his growl on "Trouble No More" clearly justifies his reputation as one of the best blues singers of all time. Berry, Butch and Jaimoe lay down a rhythm foundation that is a mile wide – the thumping bass line and syncopated drum patterns turn the "Whipping Post" finale into a musical maelstrom.
Sadly, a little over two months after the magic of this show, the Allman Brothers Band lost their founder and leader when Duane Allman was killed in a motorcycle crash in Macon on October 29th. A year later, Berry Oakley died in another motorcycle accident, only three bocks from Duane’s crash site. Despite these devastating tragedies, the ABB has persevered, and continues to play their unique style of music. One constant in their history has been the city of Boston; almost four decades after a group of starving musicians huddled in a rat-infested hovel on Kempton Street, the Allman Brothers Band returns summer after summer, like a rite of passage, to appear at the venerable Tweeter Center at Great Woods, where 20,000 of their most loyal fans gather to hear the greatest live performance band of all time. Boston Common 8/17/71 allows one to journey back to those halcyon days of Duane and Berry, when the ABB was hittin’ the note like no one else. (John Lynskey/Hittin’ the Note Magazine)

Das komplette Tracklisting:

1. Tuning - 2:01
2. Statesboro Blues - 4:43
3. Trouble No More - 4:53
4. Don't Keep Me Wonderin' - 4:14
5. You Don't Love Me - 26:08
6. Hoochie Coochie Man - 5:36
7. In Memory of Elizabeth Reed - 13:02
8. Whipping Post - 18:48

Art-Nr.: 8470
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 14,90

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Black Crowes, The - freak 'n' roll... into the fog ~ live 2005 ~ dvd [2006]
ACHTUNG! Regionalcode 1 (USA)! Es ist ein spezieller "code free"-Player nötig, der diesen Code 1 lesen kann! Bärenstarke Live-DVD der Black Crowes von ihrer vielumjubelten Reunion-Tour! Mitgeschnitten wurde das Spektakel im Rahmen von 5 Konzerten zwischen dem 5. und 10. August 2005 im altehrwürdigen Fillmore West von San Francisco/California! Als sich die Black Crowes im April 2005 in der Besetzung Chris Robinson (Gesang, Harmonica), Rich Robinson (Gitarre), Marc Ford (Gitarre), Eddie Hawrysch (Keyboards), Sven Pipien (Bass) und Steve Gorman (Drums) wieder "zusammenrauften" und zu den ersten Konzerten aufbrachen, ahnte man zunächst noch nicht, was da auf einen zukommen würde: Die Tour schlug ein wie eine Bombe! Es waren die wohl besten Black Crowes, die es je gab! Und die Tournee-Daten wurde pausenlos um neue Termine ergänzt! Band und Fans hatten gleichermaßen Spaß und es entwickelte sich eine Tour, die die Black Crowes, sowohl bei den Kritikern, als auch bei ihren Anhängern auf ein neues "All Time High" hievte - völlig zu Recht! Die Setlists waren abwechslungsreich wie nie! Jeden Abend andere Stücke, davon etliches unveröffentlicht und jede Menge höchst interessanter Coverversionen! Kochernder Rock'n Roll, und mittendrin jeweils ein kurzer Acoustic-Set! Spielfreude pur! Dreckiger, bluesiger, jammiger, southern-fueled Rock mit einer Power und Energie, daß man das "Knistern" und den "Druck" ihrer Performance noch im Musikzimmer spürt! Das Tracklisting: 1) (Only) Halfway To Everywhere, 2) Sting Me, 3) No Speak No Slave, 4) Soul Singing, 5) Welcome To The Goodtimes, 6) Jealous Again, 7) Space Captain, 8) My Morning Song, 9) Sunday Night Buttermilk Waltz, 10) Cursed Diamond, 11) She Talks To Angels, 12) Wiser Time, 13) Non Fiction, 14) Seeing Things, 15) Hard To Handle, 16) Let Me Share The Ride, 17) Mellow Down Easy, 18) Remedy, 19) The Night They Drove Ol’ Dixie Down! Bonus Feature: Behind-the-scenes short film! Laufzeit: 152 Minuten, davon reine Live-Spielzeit ca. 135 Minuten! Filmtechnisch brillant in Szene gesetzt, super Sound! Wie eingangs erwähnt, die DVD ist NICHT "code free" und läuft demzufolge nur auf DVD-Spielern, die den Regionalcode 1 (USA) lesen können!

Art-Nr.: 4030
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: DVD || Preis: € 17,90

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Bridges, Jeff - same [2011]
Jeff Bridges demonstrierte schon in der Figur des ausgebrannten Countryängers Bad Blake in "Crazy Heart" seine hervorragenden musikalischen Fähigkeiten. Nach dem mega-erfolgreichen Film und dem ebenso erfolgreichen Soundtrack zu "Crazy heart" verdichteten sich schnell die "Gerüchte" das Bridges eventuell ein komplettes Album mit Countrysongs aufnehmen würde. Nun ist es soweit. Das Teil ist da. Der Hollywoodstar, im übrigen vor seiner Schauspielerkarriere bereits als Musiker aktiv, liefert ein Album ab, das, inspiriert von "Crazy heart", auch genau da weiter macht, wo der Soundtrack aufhörte. Zudem bringt es ihn erneut mit vielen musikalischen Kollegen aus dem Film zusammen, genauso wie mit Star-Produzent T-Bone Burnett, der sowohl Bridges' neues Werk, als auch den Soundtrack produzierte. Was wir hören, sind 10 großartige, alles andere als mainstreamige, trockene, intime, rootsy Countrysongs, die zuweilen ein wenig an die Arbeiten von Kris Kristofferson erinnern. Als Gäste sind u. a. dabei: Rosanne Cash, Benji Hughes, Sam Phillips und Ryan Bingham. Klasse!

Die komplette Songliste:

1 What a Little Bit of Love Can Do - 3:38
2 Falling Short - 3:19
3 Everything But Love - 4:26
4 Tumbling Vine - 2:29
5 Nothing Yet - 4:28
6 Blue Car - 4:24
7 Maybe I Missed the Point - 3:31
8 Slow Boat - 6:01
9 Either Way - 4:53
10 The Quest - 2:56

Art-Nr.: 7517
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 16,90

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Gallagher, Rory - notes from san francisco [2011]
2 CD-Set! Unverzichtbar für die Fans dieses unvergessenen Gitarrengottes! Dieses 2 CD-Set beinhaltet ein bislang nie veröffentlichtes, in San Francisco aufgenommenes Studioalbum aus dem Jahre 1978, das Rory seinerzeit wegen seiner Meinung nach nicht zufriedenstellender Abmischung aus dem Verkehr zog (jetzt wurden die Aufnahmen von Rory's Bruder und seinem Neffen neu überarbeitet) und auf der CD2 einen ebenfalls bislang unveröffentlichten Live-Mitschnitt vom Dezember 1979 aus dem Old Waldorf von San Francisco. Der Sound der beiden CDs ist absolut in Ordnung! Historisch bedeutende, musikalische Dokumente aus dem Fundus dieses begnadeten Blues Rock'n Roll-Gitarristen.

Ein informatives U.S.-Review im Original:

It's surprising, considering the interesting back-story on the studio portion of this posthumous Rory Gallagher release, that there are no notes on the actual packaging to chronicle its eventual appearance in 2011, nearly 33 years after being recorded in December,1977. According to the press release though, Gallagher clashed with producer Elliot Mazer about the mix on these dozen tunes and not only shelved the tapes, but broke up his long time band after the San Francisco session ended. Out went keyboardist Lou Martin and drummer Rod de'Ath, replaced by skinsman Ted McKenna (bassist Gerry McAvoy remained) to strip down the sound for his next phase. About half these songs such as "Mississippi Sheiks," "Fuel to the Fire," "Brute Force & Ignorance," "Cruise on Out" and "Overnight Bag" appeared on 1978's Photo Finish in different performances. Some like the closing "Out on the Tiles" and "B Girl" will be new to all but the most ardent Gallagher followers. The guitarist apparently mentioned to his brother Donal shortly before his death that he'd like the tapes to be released someday if they were remixed, which is exactly what Donal's son Daniel did in 2011, resulting in these long lost tracks finally seeing the light of day. Despite Gallagher's reservations, everything here is up to his usual high standard and he obviously respected the material enough to re-record the bulk of it with a different band and producer later that year. Electric violin on "Mississippi Sheiks" is a new twist on both Gallagher's blues/rock style and the song, which helps differentiate this version from the more famous one that appeared on Photo Finish. Saxophone, played by Martin Fiero, enhances two cuts, also bringing a unique groove, especially to the lumbering "Brute Force and Ignorance." The package includes a December 1979 live show, also recorded in San Francisco, that finds Gallagher and his two piece in typically fine fettle. They revisit the Taste-era chestnut "Bullfrog Blues" and tear into the rarity "I'm Leavin'" with their notoriously paint peeling approach. He digs back some years for a tough take on "Tattoo'd Lady" but most of the set is derived from his mid-late 70s albums Top Priority, Photo Finish and Calling Card. A closing breathless "Sea Cruise" is probably a nod to Jerry Lee Lewis on whose album that appeared on with Gallagher guesting. It caps off a roaring, electrifying show that, along with the studio disc, makes a worthwhile addition to any Gallagher lover's collection. Even lacking detailed liner notes this is a keeper and an important historical document in Rory Gallagher's short but eventful career. ~ Hal Horowitz, Rovi

Disc 1
1 Rue the Day - 4:26   
2 Persuasion - 4:45   
3 B Girl - 4:42   
4 Mississippi Sheiks - 5:56   
5 Wheels Within Wheels - 3:40   
6 Overnight Bag - 4:46   
7 Cruise On Out - 5:19   
8 Brute Force & Ignorance - 5:45   
9 Fuel To the Fire - 5:43   
10 Wheels Within Wheels [Alt. Version] [Alternate Take][Version] - 3:55   
11 Cut a Dash [bonus track] - 3:49   
12 Out On the Tiles [bonus track] - 4:22   

Disc 2
1 Follow Me [Live] - 6:25   
2 Shinkicker [Live] - 3:42   
3 Off the Handle [Live] - 7:01   
4 Bought and Sold [Live] - 4:43   
5 I'm Leavin' [Live] - 4:35   
6 Tattoo'd Lady [Live] - 6:49   
7 Do You Read Me [Live] - 6:11   
8 Country Mile [Live] - 3:51   
9 Calling Card [Live] - 5:51   
10 Shadow Play [Live] - 5:11   
11 Bullfrog Blues [Live] - 5:38   
12 Sea Cruise [Live] - 3:39

Art-Nr.: 7376
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

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Grateful Dead - rocking the cradle ~ egypt 1978 [2008]
2 CDs & 1 DVD-Set!
Recorded live at Gizah Sound & Light Thaeter, Cairo, Egypt, 15. und 16. September 1978! 30 Jahre nach Grateful Dead's legendärem Ägypten-Trip erscheint dieses historische Ereignis nun auf einer Doppel-CD (über 145 Minuten Spielzeit) und einer großartigen Live-DVD!
Die DVD ist "code free" und somit auf jedem DVD-Player abspielbar!

Der offizielle Text zur Veröffentlichung:

"Good things come to those who wait! First, it took 30 years to produce this ultra-cool 2CD/DVD set from the Dead’s legendary September 1978 run at the Sound & Light Theater, outside Cairo, nestled in the dunes just a short mummy-walk from the Great Pyramid and the mysterious Sphinx. Then, Dead Heads had to endure the long, restless weeks between the announcement of the release and when they could actually order it. Well, ring them bells, because the wait is over! This beautiful and historic package, Rocking the Cradle: Grateful Dead, Egypt 1978, which includes two exceptional music CDs and a DVD with over 95 minutes of concert footage from the Egypt shows (plus an impressionistic “Vacation Tapes” mini-documentary that shows the band and Dead family at play) is now available. Much has been written about this storied adventure: About the band’s long-standing desire to play in “places of power,” as Phil put it years ago… The incredible logistical gymnastics necessary to get permission for this strangest of American rock bands to bring their peculiar alchemy to the cradle of the ancient world… The huge, scattered caravan of crazies that descended on Cairo from the U.S. and Europe, drawn to the desert by some irresistible force… The sheer magnitude of shipping in tons of sound equipment, setting up in 110-degree heat, maxing out the local power grid, trying to turn the King’s Chamber in the Great Pyramid into an echo chamber (alas, Osiris would have none of that!)… The wondrous interplay at each of the three concerts between Nubian drummers and singers and the Grateful Dead… The miraculous final show, during a total lunar eclipse… The synchronicity of that last show and the signing of a peace treaty between Egypt and Israel… Magical horse and camel rides under the desert moon…Trips up and down the Nile… High adventure at every turn!

The three Egypt concerts—September 14, 15, 16, 1978—were captured on a 24-track tape recorder with an eye towards putting out a live album to help defray the (considerable) cost of the expedition. When the Dead got home, however, they discovered that the tapes of all of the first night and part of the second were not useable because of technical problems. Then the band got wrapped up in finishing their Shakedown Street album (begun before the Egypt venture), and soon the notion of putting out the Egypt album lost its momentum. But just as Howard Carter and all those other explorers in the ’20s and ’30s couldn’t stay away from the tombs in the Valley of the Kings, the Dead weren’t about to let those Egypt multitracks stay buried by the sands of time. Next thing you know there’s a phone call to ace GD mixer Jeffrey Norman and he and vaultkeeper David Lemieux discover that despite the problems with the first night’s tapes, there’s still lots of great material available from nights two and three, including: a dynamite “Shakedown Street” (just the second live version ever), “Truckin’,” an exquisite “Stella Blue,” “Eyes of the World,” fresh takes on then-new songs such as “Stagger Lee” and “I Need A Miracle,” and the hypnotic Egyptian tune called “Ollin Arageed” that features Hamza El Din and other percussionists, who are then joined by the Dead for a jam into “Fire on the Mountain.” Wow!

And the concert video, though rough around the edges in places, is quite a revelation as well. Not only does the DVD include many of the best tunes on the CDs—you’ll dig seeing Jerry do some pretty energetic thrashing here and there—it contains two songs not on disc—“Bertha” and “Good Lovin’.” The concert material has been mixed in both stereo and surround sound, with two listening options: DTS 5.1 and PCM Stereo. The beautifully designed booklet (with cover inspired by the late, great Alton Kelley’s Egypt 1978 tour poster) contains a revealing essay by longtime Ice Nine Publishing chief (and Egypt trip co-organizer) Alan Trist, and many rare photos. All that’s missing is sand, the smell of camels and some 'hubbly-bubbly'"!

Die komplette Setlist:

Disc 1
1 Jack Straw - 6:44   
2 Row Jimmy - 11:46   
3 New, New Minglewood Blues - 6:26   
4 Candyman - 7:29   
5 Looks Like Rain - 8:52   
6 Stagger Lee - 7:29   
7 I Need a Miracle - 5:45   
8 It's All Over Now - 7:39   
9 Deal - 7:03   

Disc 2
1 Ollin Arageed - 6:56   
2 Fire on the Mountain - 14:05   
3 Iko Iko - 7:03   
4 Shakedown Street - 15:30   
5 Drums - 3:31   
6 Space - 2:26   
7 Truckin' - 10:14   
8 Stella Blue - 8:18   
9 Around and Around - 8:21   

Disc 3 - DVD (Live Concert Film)
1 Bertha
2 Good Lovin'
3 Row Jimmy
4 New, New Minglewood Blues
5 Candyman
6 Looks Like Rain
7 Deal
8 Ollin Arageed
9 Fire on the Mountain
10 Iko Iko
11 I Need a Miracle
12 It's All Over Now
13 Truckin'
14 The Vacation Tapes (kleiner Film über den Trip)

Art-Nr.: 5996
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 28,90

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Guy, Buddy - rhythm & blues [2013]
2 CD-Set! 3 Jahre nach den Grammy-dekorierten "Living proof" veröffentlicht Meistergitarrist und lebende Blues-Legende Buddy Guy sein neues Album, und zwar gleich eine Doppel-CD. Bereits im Vorfeld wird "Rhythm & Blues" als eine weitere, absolute musikalische Sternstunde in der langen Karriere Guy's gefeiert, und die ersten Reviews bestätigen diese Vorschußlorbeeren nachdrücklich. Ein paar der Songs des neuen Werkes hat der Meister mit einigen hochkarätigen Gästen eingespielt, was einmal mehr seine einzigartige Verbindung zwischen Tradition und Moderne offenbart. Mit dabei waren der neue, junge Guitarhero des Blues, Gary Clark jr., Beth Hart, aber auch genrefremde Größen wie Keith Urban, Kid Rock und Aerosmith's Steven Tyler, Joe Perry und Brad Whitford. Produziert hat sein langjähriger Weggefährte Tom Hambridge! Der ewig junge Buddy Guy befindet auch mit 76 Jahren noch in der Blüte seiner Karriere. Großartig!

Die offizielle Produktbeschreibung:

Six-time Grammy Award winner and 2012 Kennedy Center Honoree Buddy Guy will release his new studio album Rhythm & Blues. The follow-up to his 2010 Grammy Award winning album Living Proof, this double-disc masterpiece features first time studio collaborations with A-list artists Kid Rock, Keith Urban, Gary Clark, Jr., Beth Hart and Aerosmith members Steven Tyler, Joe Perry and Brad Whitford. Rhythm & Blues will be available for pre-order at all online retailers on June 25th.
Produced by Grammy Award winning producer/songwriter and longtime collaborator Tom Hambridge (Skin Deep, Living Proof), Rhythm & Blues captures the 76 year-young Guy at the peak of his creativity. Replete with heartfelt vocals, straightforward lyrics and mesmerizing guitar licks, Rhythm & Blues not only exemplifies how blues continues to be the foundation of all genres of today's music, it also illustrates why Guy has been influential in the careers of Eric Clapton, Jimi Hendrix, Jeff Beck, Stevie Ray Vaughan and more.
The Rhythm disc includes rhythm and blues-style blues with deep grooves, such as the Junior Wells' 1960 hit "Messin' With The Kid" featuring Kid Rock, the touching "One Day Away" with Keith Urban, and "What You're Gonna Do About Me," a rousing duet with Beth Hart. Guy rounds out the disc with "Best In Town," "Whiskey Ghost," Guitar Slim's "Well I Done Got Over It" and more.
The Blues disc taps into the genre's rich history with "Meet Me In Chicago," "I Could Die Happy," "Never Gonna Change" and "All That Makes Me Happy Is The Blues." Aerosmith's Tyler, Perry and Whitford contribute to the musical lesson with "Evil Twin" while Gary Clark, Jr. joins Guy on "Blues Don t Care."
In a career that spans nearly 50 years with over 50 albums released, the incomparable Buddy Guy recently added the prestigious Kennedy Center Honors and NARM Chairman's Award for Sustained Creative Achievement to his long list of achievements. Guy is the recipient of 30 awards and accolades, including 6 Grammy Awards, 28 Blues Music Awards (formerly W. C. Handy Awards), Rock and Roll Hall of Fame induction, the first annual Great Performer of Illinois Award, a Billboard Music Awards' Century Award for distinguished artistic achievement, the Presidential National Medal of Arts, in addition to being listed as one of the 100 Greatest Guitarists of All Time by Rolling Stone.

Hier noch ein begeistertes U.S-Review:

Buddy Guy – Next to Muddy Waters and Howlin’ Wolf, his name personifies Chicago blues. Considering he’ll be 77 years old on July 30th, you’d think he’d be ready to sit down and take it easy. His new album is proof that like good whiskey and fine wine he’s just gotten better with age. For Buddy’s birthday he gives us all a gift with Rhythm & Blues, a two disc album filled with some stellar collaborations and which after over 50 albums is probably one of his best releases.
This album is once again produced by the Grammy winning producer Tom Hambridge (Living Proof, 2010). A musician who is criminally unknown for his own blues rock releases. Tom Hambridge plays the drums throughout the album. After that there are two basic all-star sets of musicians. The first consists of David Grissom (guitar), Reese Wynans, (B3), and Michael Rhodes (bass). The second set consists of Rob McNeely (guitar), Kevin McKendree, (B3), and Tommy MacDonald (bass). As if the musicianship wasn’t enough in the above list, Buddy also has the following guest stars; Kid Rock, Gary Clark Jr., Beth Hart, Keith Urban, and Aerosmith’s Steven Tyler, Joe Perry and Brad Whitford, who all contribute something unique and interesting.
With two discs of quality material to pick from it’s difficult to discuss them all. Suffice to say there isn’t a bad track. So we’ll just discuss the highlights.
Disc 1: “Justifyin’” is the second track and it is a fast rockin’ powerhouse of a track. It’s amazing that Buddy can rip notes off his guitar at that rate at almost 77 years old. “I Go By Feel” slows things down as Buddy explains a conversation with an old blues teacher when he was younger and how the concept that feel is what sets a great musician apart from someone who is technically capable. You can throw all the notes at someone you want but there is that connection with a few simple notes where an artist can express all the emotion of the song. Buddy next teams up with Kid Rock to cover the appropriately named Elmore James tune “Messin’ with the Kid,” which Buddy played guitar on way back in 1965. Kid’s gruff voice actually meshes well with the attitude of the song. Shortly after that we get a cover, “One Day Away,” which was written by one of Buddy’s long time touring guitar players, Scott Holt, who is another artist everyone should check out. Keith Urban lends his country swagger to the song singing about telling someone you love them and the need to seize the day and to not wish one day away. Beth Hart steps up next and let’s everything rip on the spectacular track “What You Gonna Do About Me” as she trades lyrics with Buddy, proving once again why she is one of the powerhouse female vocalists of this generation.
Disc 2: The second disc starts out with a tribute to Buddy’s hometown with “Meet Me In Chicago.” Buddy lists the highlights of his hometown, like deep dish pizza, Wrigley Field, Soldier Field, Wabash Avenue, and in Buddy’s typical humble style he of course lists Buddy Guy playing the blues, which is reason enough to come to Chicago. “Evil Twin” brings the members of Aerosmith in for a straight up blues anthem. “All That Makes Me Happy is the Blues” is slow blues that is all about exactly what the song title says it is. Blues is known for being a genre of music about sadness, but it’s not meant to be sad. It’s really meant to be an uplifting release of all of our problems. The final track that stands out on here is collaboration with Gary Clark Jr. on the rollicking “Blues Don’t Care.”
Buddy will always be one of the legends of the blues. He has always blurred the lines between blues and rock and roll. Filled with his signature tone and that Buddy Guy attitude, Rhythm & Blues just continues to cement his legacy as one of the greatest guitar players.
(Kevin O’Rourke/Blues Rock Review)

Das komplette Tracklisting:

Disc 1
1. Best in Town
2. Justifyin'
3. I Go by Feel
4. Messin' with the Kid (featuring Kid Rock)
5. What's Up with That Woman
6. One Day Away (featuring Keith Urban)
7. Well I Done Got over It
8. What You Gonna Do About Me (featuring Beth Hart)
9. The Devil's Daughter
10. Whiskey Ghost
11. Rhythm Inner Groove

Disc 2
1. Meet Me in Chicago
2. Too Damn Bad
3. Evil Twin (featuring Steven Tyler, Joe Perry & Brad Whitford)
4. I Could Die Happy
5. Never Gonna Change
6. All That Makes Me Happy Is the Blues
7. My Mama Loved Me
8. Blues Don't Care (featuring Gary Clark jr.)
9. I Came Up Hard
10. Poison Ivy

Art-Nr.: 8245
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 15,90

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Haggard, Merle - i am what i am [2010]
Brandneues Album der mittlerweile 72-jährihen Countrymusic-Legende aus Californien, Haggard, der zusammen mit Buck Owens den Bakersfield-Sound massgeblich mit prägte, zählt zu den ganz Großen der klassischen, zeitgenössischen Countrymusic, dessen Einfluss auf unzählige Musiker nach wie vor ungebrochen ist. Und das er's noch immer kann, beweist er eindrucksvoll mit seinem neuen Werk: Klassischer Haggard-Country ohne jeden modernen "Firlefanz", authentisch auf den Punkt gebracht.

Hier die ausführliche Original-Produktinformation des Labels zu dieser Veröffentlichung:

California country music legend Merle Haggard's debut Vanguard release, I Am What I Am bristles with all the arresting qualities for which this unrivaled artist is prized. Every song is imbued with the near alchemical power of his dazzling vocal performances, and Haggard's interpretive mastery and unmatched phrasing continues to bring on impressive measures of sensitivity, candor and authority. Never conventional, often confrontational, always outspoken, the 72 year old Haggard remains as aggressively bent on revealing unspoken truths as ever.
From the astonishing opener, "I've Seen It Go Away," Haggard throws a flurry of knock-out punches. A stunningly blunt rundown of contemporary America's cultural decay--targeting everything from politics to pop music--it's prescient and pessimistic, but carries an unflinching honesty that trumps mere cynicism. When he sings "I`ve seen it all completely fall apart / and I`ve seen our greatest leaders break their peoples heart" it`s downright chilling, but the album doesn't dwell on woe. It's a typically far-reaching set, but remains centered around a series of contemplations on love, in all of its intoxicating and vexing forms. Examining romance with a poet's beatific vulnerability, Haggard travels from the ardent bloom of romance to the intricate ensemble of family life to the burnt out confusion of fading passion, yet always returns to love`s eternally redemptive power. This is Hag at his best, with his hair down, remarkably intimate and sincere.

Over a distinguished fifty year-plus career that's taken him from a drastically misspent criminal youth to solitary confinement in San Quentin to the Country Music Hall of Fame, Haggard has memorably portrayed, in song, myriad archetypal characters. Whether fugitive, troubadour, misfit or crusader, he's explored each perspective with a critical acuity, a hard-won skill that's allowed him to score no less than 40 number one country hits. With I Am What I Am, Haggard really looks inward, going all the way back to his Oildale childhood on sentimental reminiscence "Oil Tanker Train," which Haggard called "My favorite song on the album--that's a true deal." Rough-edged numbers like "Stranger in the City" and the rowdy "Mexican Band" carries the set all the way up to the singer's still barely-controlled hell-raising ways--on the latter, he unforgettably declares "Agave makes me dance on my hands." But on tracks like "Pretty When It's New," a study of new love's marvelous voltage, and "How Did You Find Me Here" which convincingly takes him from morbid depression to elated joy, Haggard sounds almost re-born, intensely involved and consumed with a sheer sense of wonder that's enhanced further by those characteristically masterful vocals.

Recorded with his ace band the Strangers, many of whom have been at Hag's side for decades, at his Northern California headquarters, the Shade Tree Manor studio, and co-produced by indispensable, longtime cohort Lou Bradley, the album was largely a family affair. "It was pretty much just the Strangers, but Reggie Young and Rob Ikes played on it, and we had an additional drummer that worked with us, George Receli from the Bob Dylan band." Haggard said. "Sometimes we try to find an inspiring player, to come and inspire us." That quality was clearly not in short supply, and Haggard's musical concepts and execution continue to flabbergast.

Equally at ease with hard country realism and jazz-informed expression, Haggard's songwriting is operating at an entirely new and impressive artistic plateau. "Bad Actor" is a remarkable soliloquy on married life and the vortex of hope, guilt, confusion and doubt it can instill. Delivered in the simplest language yet dealing with some highly intricate and subtle emotional issues, it is an altogether moving and unique achievement. Haggard's often closely guarded innocence is completely exposed, showing an incredible tenderness that, considering the counterpoint of his battle-scarred, hardened exterior, creates a profoundly resonant experience.

Closing with "I Am What I Am," the title track's unflinching self-assessment crystallizes the singer's own personal state of the union. Equally relaxed and ornery, confident, focused and as controversial as ever, Haggard knows exactly who he is--"a seeker and a sinner"--and taken with the fierce opening salvo of "I've Seen It Go Away," he still refuses to downplay or shy away from our common, harsh reality. "Its pretty sad actually, it just seems like its one thing after another that we lose every day." Haggard said. "You get up, turn on the radio and something else went down the drain. I guess people like you and I--people that care--have got to bind together somehow, and maybe doing that through the music is the best way." (Vanguard)

Die komplette Songliste:

1 I've Seen It Go Away - 3:00   
2 Pretty When It's New - 3:12   
3 Oil Tanker Train - 3:02   
4 Live and Love Always - 2:30   
5 The Road To My Heart - 2:50   
6 How Did You Find Me Here - 3:55   
7 We're Falling In Love Again - 3:31   
8 Bad Actor - 3:28   
9 Down At the End of the Road - 3:10   
10 Stranger In the City - 2:09   
11 Mexican Bands - 3:27   
12 I Am What I Am - 2:38

Art-Nr.: 6870
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 16,90

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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)

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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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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

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Stanley, Michael - in a very short time [2016]
Er tut es einfach immer und immer wieder - Jahr für Jahr! Das neue, 2016er Album von Michael Stanley, "In A Very Short Time", dem charismatische Frontmann und Namensgeber der legendären, in den Siebzigern mit ihrem grandiosen Heartland-Rock zu regelrechtem Kultstatus gelangten Michael Stanley Band, ist da, erneut veröffentlicht auf Stanley's eigenes "Line Level"-Label. Und wieder ist es ein phönomenales Werk geworden. Dem Mann gehen die Glanztaten einfach nicht aus. Er ist wieder in brillanter Verfassung. Was sind das für grandiose Songs, welch eine umwerfende, ausgewogene Mischung aus kraftvollen Rockern und hinreissenden, traumhaft melodischen Balladen, alles umgesetzt in Stanley's typischem Cleveland Rock/Heartland Rock-Ambiente. Als Songwriter muss man ihn einfach in einem Atemzug mit solchen Größen wie Bruce Springsteen und Bob Seger nennen - das beweist er hier wieder auf eindrucksvollste Art und Weise. Ja, da kommt man aus dem Schwärmen gar nicht mehr raus. Eingespielt hat Stanley das Album erneut mit seiner aktuellen Touring Band "The Resonators", der, neben den beiden klasse Gitarristen Danny Powers und Marc Lee Shannon u. a. auch seine alten Michael Stanley Band-Freunde Bob Pelander mit seinem exzellenten Piano- und Orgelspiel, sowie Drummer Tommy Dobeck angehören. Außerdem wurde das Werk abermals vom legendären Westcoast-/Southern Rock-Starproduzent Bill Szymczyk (u.a. The James Gang, Outlaws, Bob Seger, Joe Walsh, The Eagles), der auch schon für die frühen Werke der MSB verantwortlich zeichnete, abgemischt. 14 Tracks, 64 1/2 Minuten Michael Stanley vom Allerfeinsten. Wünschen wir uns von ihm noch jede Menge solcher Alben wie "In a very short time" und all den anderen davor, denn davon kann man einfach nicht genug bekommen. Das ist das höchste Heartland Rock-Level. Was für eine Wonne!

Das komplette Tracklisting:

1. The Rekoning - 6:04
2. No Uncertain Terms - 3:43
3. Everybody Leaves - 5:06
4. Messin' with the Cha Cha - 4:25
5. Getting to Denmark - 4:29
6. Broken Angel - 6:11
7. Notified - 5:34
8. In a Very Short Time - 5:42
9. Mr. Right Now - 3:29
10. 706 Union - 4:17
11. Smart Too Late - 5:26
12. Fellow Citizens - 4:39
13. Where Do We Turn - 4:07
14. Untitled - 1:07

Art-Nr.: 9351
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

In folgende Titel können Sie reinhören:
The reckoning
No uncertain terms
Getting to Denmark
Broken angel
In a very short time
706 union
Smart too late
Fellow citizens

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Tedeschi Trucks Band - live from the fox oakland ~ 2 cds + 1 dvd [2017]
2 CDs + 1 DVD-Set! Fantastischer Mitschnitt (auf Doppel-CD und DVD) des kompletten Konzertes der unwiderstehlichen Tedeschi Trucks Band um den begnadeten Gitarristen Derek Trucks (ex-The Allman Brothers Band) und seine Gattin Susan Tedeschi vom 9. September 2016 aus dem alt ehrwürdigen Fox Theatre in Oakland/California. Tolle Setlist, die Band in grandioser Verfassung, - es war eine magische Nacht in Oakland, sowohl soundtechnisch, als auch filmtechnisch bravourös eingefangen. Begeisternd!
Die DVD ist "code free" und somit auf jedem DVD-Player abspielbar.

Hier die offizielle Produktbeschreibung im Original:

In September of 2016, Tedeschi Trucks Band set out for the West Coast to make a live album. After 10 shows there was no shortage of great music to choose from, but for everyone on the tour, one night stood out from the rest: September 9 at the Fox Theatre in Oakland. The best part? We had a dozen cameras on hand that night to capture every note. Live From The Fox Oakland is a live double album that David Fricke calls “a new peak in the continuing story of a great American rock & roll family band.” The concert film of the same name features over 90 minutes of performance footage as well as some insightful and downright moving glimpses at life on the road with TTB.

Hier der Review des großartigen Webzines "Sounds of South" /

Wow! Schon beim Auseinanderklappen des imposant und edel gestalteten Doppel-CD/DVD-Packages, das ein Live-Konzert der Tedeschi Trucks Band im historisch/orientalisch anmutenden, sehr beeindruckenden, 1928 errichteten Fox Theatre in Oakland, Kalifornien, dokumentiert, erahnt man bereits, dass hier was ganz Großes auf einen zukommt. Während die DVD, unter der Regie von Jesse Lauter und Grant James abgelichtet, den Gig ‚filmisch‘, mit kleinen netten Zwischenepisoden des Drumherums, dokumentiert, spiegeln die beiden CDs das Konzert in nummerisch korrekter Reihenfolge sowie voller Länge der Songs wieder und enthalten mit dem orchestral swingenden „Right On Time“, dem souligen Schunkler „Don’t Drift Away“ und dem fusig-jazzigen Instrumental „Ali“, drei weitere tolle Tracks, die nicht visuell in Szene gesetzt wurden. Ich werde mich hier aber natürlich auf den erstgenannten Silberling konzentrieren. Nach einem kurzen Intro steigt der Film mit „Don’t Know What It Means“ als Opener ein, ein Song aus dem letzten hochdekorierten Studiowerk „Let Me Get By“. Susan Tedeschi gibt direkt mal eine Kostprobe ihres stimmlichen Volumens und ihres versierten E-Gitarrenspiels, das in Form von vielen hervortretenden Adern, deutliche Spuren auf ihrem Handrücken hinterlassen hat. Am Ende des Stückes glänzt Rastamann Kebbie Williams mit einem Sax-Solo, das free-jazzige Züge aufweist. „Keep On Growing“ vom einstigen „Derek And The Dominos“-Klassiker Layla and Other Assorted Love Songs“ steht natürlich ganz im Zeichen von Ehemann Derek Trucks, der hier gleich drei Soli auf seiner Gibson SG vom Stapel lässt, am Ende mit furiosem Slide. Leonard Cohens „Bird On The Wire“ wird in gospeliger Form mit emotionalem Ende interpretiert. Passend zum spirituellen Ambiente des Fox (ein goldener Buddha wird eingeblendet), lässt Derek bei „Within You, Without You“ sein Arbeitsgerät in orientalischem Slide aufsurren, das dann nahtlos in den shuffligen Blues Rock-Stampfer „Just As Strange“ übergeht (Bonnie Raitt-Flair). Beim souligen „Crying Over You“ hat Mike Mattison, der mich rein äußerlich immer irgendwie an Muhammad Ali erinnert, seinen ersten starken Gesangseinsatz, ein weiteres Highlight ist ist das Duell von Derek mit Keyboarder Kofi Burbridge, das in Frage-Antwort-Manier zelebriert und zudem mit einem Hammer-Solo vom Butch Trucks-Neffen beendet wird. Das herrliche „Leavin‘ Trunk“ klingt, als wenn sich James Brown (erneut großartiger Gesang von Mattison) und die Allman Brothers (Susan und Derek gitarren-technisch in Hochform) zu einer Jam-Session zusammengefunden hätten. „I Pitty The Fool“ bluest unter Tedeschi-Regie samt plusternder Bläserfraktion (vervollständigt durch Elizabeth Lea und Ephraim Owens). Das knapp 15-minütige „I Want More“ dampft aus allen Gassen. Hier entfacht die Drum-Doppel-Besetzung mit J.J. Johnson und Tyler Greenwell, wie sooft in diesem Gig, ihre ganze Kraft samt blindem Verständnis, auch Derek mit ABB-trächtigem Slide und Burbridge mit Marshall Tucker-umwehten Querflöten-Intermezzo sowie wüsten Orgel-Geklimper beim angeschlossenen „Soul Sacrifice“-Outro, wissen zu gefallen. Das Titelstück des Studioalbums „Let Me Get By“ zeigt am Ende mit gospeligem Touch nochmals die ganze Spielfreude des Ensembles. Selbst der Abspann mit einer Wohnzimmer-Performance der Band von Dylans „You Ain’t Going Nowhere“ ist ein Knüller. Hier dürfen auch die Back-Singer Alecia Chakour und Mark Rivers mal die Lead vocals bei einer der vielen Strophen übernehmen und Black Crowes-Fronter Chris Robinson ist auch noch als Gast mit von der Partie. Elisabeth Lea lässt ihre Posaune kurz plärren. Klasse gemacht. Appropos Zwischenepisoden. Da wird ein Besuch von Derek bei US-Comedian Marc Maron in seiner Garge gezeigt, ein Interview des Ehepaares beim Rolling Stone-Journalisten David Fricke, der auch den Begleittext des Booklets geschrieben hat, Dereks Vater als Verantwortlicher des Merchandisings kurz porträtiert, und Susan beim Testen des kongenialen Sounds im Gros des Fox vor leerer Kulisse mit dem Song „Color Of The Blues“. Nicht zu vergessen auch noch der Bonusteil mit dem bluesigen „Anyhow“ (wieder mit Bonnie Raitt-Flair) und der Vollversion des Gastauftritts von Alam Khan, der mit seiner Sarod (so ein orientalisches Monsterknüppel-Instrument) auf „These Walls“ den Konterpart zu Dereks Slide-Spiel (der zum einzigen Male auf einer Les Paul) abgibt. Hier werden konventionelle Musikmauern eingerissen und die beiden versuchen mit diesem, quasi im Southern Yoga Rock-Stil zelebrierten Stück, dem Ambiente des orientalischen Theaters gerecht zu werden – Da heißt es für alle Beteiligten einfach nur ‚Om‘! Fazit: „Live From The Fox In Oakland“ der Tedeschi Trucks Band zeigt das zwölf-köpfige Mega-Ensemble im absoluter Bestform. Es macht Spaß, diesen Könnern, in diesem speziellen Rahmen, bei bester Bild- und Tonqualität, Folge leisten zu können (vom kleinsten Tönchen auf der Bühne, bis hin zum Digipak, mit dem reichhaltig bebilderten Einsteckbooklet, inklusiv aller relevanten Informationen, Perfektionismus pur). Absolute Kaufempfehlung! Dieses Package gehört in jede Rockmusik-Sammlung, die was auf sich zählt. (Daniel Daus /

Die komplette Setlist:

CD 1:
1. Don’t Know What It Means
2. Keep On Growing
3. Bird On The Wire
4. Within You, Without You
5. Just As Strange
6. Crying Over You
7. These Walls (feat. Alam Khan)
8. Anyhow

CD 2:
1. Right On Time
2. Leavin‘ Trunk
3. Don’t Drift Away
4. I Want More (Soul Sacrifice Outro)
5. I Pity The Fool
6. Ali
7. Let Me Get By

1. Don’t Know What It Means
2. Keep On Growing
3. Bird On The Wire
4. Within You, Without You / Just As Strange
5. Crying Over You
6. Color Of The Blues
7. These Walls (feat. Alam Khan)
8. Leavin‘ Trunk
9. I Pity The Fool
10. I Want More (Soul Sacrifice Outro)
11. Let Me Get By
12. You Ain’t Going Nowhere
13. Anyhow (Bonus)
14 These Walls (feat. Alam Khan) – Full version (Bonus)

Art-Nr.: 9402
Gruppe: Musik || Sparte: Rock
Status: Neuheit || Typ: CD || Preis: € 23,90

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