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Abbott Band, Josh - she's like texas [2010]
Ungemein frisch, schön knackig, locker, spritzig, aufgenommen in einem glasklaren, saftigen Sound: Die Josh Abbott Band mit einem herrlichen, traumhaft melodischen Countryrock-Juwel, das wie selbstverständlich die Trademarks der goldenen Countryrock-Tage der Siebziger (Poco, Eagles), traditionelle Countrywurzeln und die kernigen, würzigen Charakteristika der rockigen Texas/Oklahoma-Red Dirt-Bwegeung (ala Eli Young Band, Wade Bowen, Cross Canadian Ragweed, Randy Rogers Band) miteinander vereint. Countryrock lebt - und wie! Ein Konzertbesuch der Randy Rogers Band im "Blue Light", einem kultigen Club in seiner Heimatstadt Lubbock/Texas stellte 2004 so etwas die Initialzündung für Josh Abbott dar, seine musikalischen Talente zu seinem absoluten Lebensmittelpunkt zu machen. Deren Art zu spielen, ihre Bühnenpräsenz und Rogers’Gesang, sowie die Verbundenheit mit dem Publikum faszinierten und motivierten Abbott derartig, dass er sein Studium abbrach und fortan nur noch auf die Karte Musik setzte. "I think I can do that, too", lautete seine Maxime. Sechs Jahre später veröffentlicht er mit seiner Band, bestehend aus Preston Wait (Fiddle, Electric guitar), Edward Villaneva (Drums), Daniel Almodova (Bass) und Gabe Hanson (Electric guitar, baritone, harmonica) mit „She’s Like Texas“ seine bereits zweite CD, nachdem er zuvor schon mit seinem Debüt bei den Kritikern ("they rumble out like a Texas thunderstorm"; "honest songs about real-life emotions with strong harmonies and winsome melodic hooks") und den Radiostationen in und um Texas herum für mächtig Furore sorgte. Das musikalische Konzept von Josh Abbott orientiert sich naturgemäß durchaus an der Randy Rogers Band, wenngleich Abbott und seine Truppe mit diesem Album Rogers & Co. fast schon in den Schatten stellen. Wie bei Rogers spielen variabel eingesetzte Akustik/E-Gitarren (sehr stark Lead Gitarrist Gabe Hanson) und eine markante Fiddle (Preston Wait gleicht fast einem Pendant zu Brady Black) als essentieller Part neben Abbott's charismatischer gesanglicher Präsenz (tolle, überaus angenehme, typisch texanische Red Dirt-taugliche Stimme) die dominierende Rolle. Das Songmaterial ist ohne jede Ausnahme vom Allerfeinsten! Um zu erahnen, was das für die Zukunftsaussichten der Josh Abbott Band bedeuten könnte, braucht man kein Hellseher zu sein, sofern man die Erfolgsstory der Randy Rogers Band verfolgt hat. Für "She’s Like Texas" konnte man zudem den überaus erfolgreichen Produzenten Erik Herbst (u.a. Eli Young Band, Bois D’Arcs, Kyle Bennett Band, Macon Grayson) gewinnen, der den Sound der JAB in noch professionellere und, das meinen wir nur positiv, sehr radiokompatible Bahnen gelenkt hat, ohne dabei auf das nötige rootsige, ursprüngliche, erdige und würzige Ambiente zu verzichten. Damit scheinen die Weichen für den ganz großen überregionalen Wurf gestellt zu sein. Zu der großen Klasse des Albums tragen ohne Zweifel auch die klug ausgewählten Gastmusiker (u.a. Clay und Carla Corn, Gerald Jones und vor allem Virtuose Milo Deering mit seinem unwiederstehlichem Mandolinenspiel) bei, die allesamt bestens mit dem Quintett harmonieren. Dazu kommen wirklich gelungene Guestvocals, zum einen durch die exzellente Kacey Musgraves beim traumhaften Duett "Oh Tonight" (wie eine Session der Randy Rogers Band mit den Wreckers - Musgraves klingt wie Michelle Branch; toll hier auch das bereits erwähnte grandiose Mandolinengeklirre von Milo Deering), zum anderen im Trio mit den Abbott-Kumpeln Trent Willmon und Roger Creager, die sich beim lockeren, dezent grassig angehauchten "End Of A Dead Road" deutlich hörbar mit viel Freude die Gesangsbälle gegenseitig zuwerfen. Ganz stark dieser Song. Das an die Eli Young Band oder No Justice erinnernde, wunderbare "All Of Sudden" mit seinem nicht mehr aus den Ohren weichendem Refrain wurde schon im Vorfeld an die Radiostationen verschickt und erntete bereits höchste Chart-Ehren in den Texas Music-Charts. Die herrlich melodischen "The Walking Out" und "If You’re Leaving (I’m Coming Too)" gehen fliessend ineinander über und versprühen mit ihrem tollen E-Gitarrenrhythmus eine gewisse Heartland-Countryrock-Atmosphäre. Voller Hit-Potential stecken die flockigen "Fall In Love Again" und "She’s Like Texas", beide mit toller Mandolinenuntermalung, weiblichen Harmonies und Fiddle-Solo. "Brushy Creek" glänzt mit einem satten Hill Country-/Hillbilly-Flair, erzeugt durch Banjo und Fiddle, und erinnert mit seinen kernigen E-Gitarren-Riffs (inkl. großartigem Solo) sogar entfernt an eine countryeske Ausgabe von Lynyrd Skynyrd's "Swamp Music". Fröhlichen, knackigen Country mit einem Refrain zum Mitsingen bietet "I Just Wanna Love You". Beeindruckend hier das starke Baritone-E-Gitarren-Spiel von Gabe Hanson. Das Ende der Scheibe gehört dann dem Bandleader (fast) allein, der bei "Let My Tears Be Still" (es geht um einen kurz vor dem Tode stehenden, seine Lebensbilanz ziehenden Kriegsveteranen) zu den traurigen Pianoklängen von Gastmusiker Clay Corn eine emotionsgeladene, unter die Haut gehende Gesangsperformance abliefert und seine ganze vokale Klasse nochmals eindrucksvoll unter Beweis stellt. Josh Abbott und seine Band haben mit "She’s Like Texas" einen tollen Longplayer hingelegt, der nachhaltig die Prognose eines amerikanischen Kritikers untermauert, der sagt: "The next big thing out of this terrific Texas music scene"! Das unterschreiben wir blind! Die CD kommt in einem schönen, 2-fach aufklappbaren Digipack mit ausführlichem, 16-seitigem Booklet, inklusive aller Texte. Hier passt alles! Begeisternder (Red Dirt)-Countryrock, wie wir ihn aus Texas lieben! (Daniel Daus)

Das komplette Tracklisting:

1 Road Trippin - 3:10   
2 All of A Sudden - 3:02   
3 The Walking Out - :32   
4 If You're Leaving (I'm Coming Too) - 3:54   
5 Fall In Love Again - 3:37   
6 She's Like Texas - 3:55   
7 Brushy Creek - 3:22   
8 Oh, Tonight - 3:25   
9 Hot Water - 4:36   
10 I Just Wanna Love You - 3:09   
11 End Of A Dirt Road - 4:09   
12 Let My Tears Be Still - 4:38

Art-Nr.: 6833
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
Road trippin
All of a sudden
If you're leaving (I'm coming too)
Brushy creek
Oh, tonight
Hot water
End of a dirt road

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Allman Brothers Band, The - macon city auditorium, macon. ga 2/11/72 [2013]
2 CD-Set! Die Veröffentlichung rarer, historischer Konzerte aus den umfangreichen Archiven der Allman Brothers findet endlich ihre Fortsetzung. Nach "American university 12/13/70" und "S.U.N.Y. at Stonybrook, NY 9.19.71" folgt nun ein großartiges Konzert aus der schwierigen, aber sehr bedeutungsvollen, weil emotionalen Phase der Band zwischen November 1971 und Herbst 1972, der so genannten "Five-Man Band" Ära, als man nach dem tragischen Tod des unvergessenen Duane Allman am 29. Oktober 1971 beschloß, zunächst nur mit Dickey Betts, also ohne zweiten Gitarristen, weiter zu machen. In dieser Zeit wurde der Meilenstein der Band "Eat a peach" fertiggestellt, aus dem einige absolute Klassiker hervorgingen, wie etwa "Melissa", "Ain't wastin' time no more" und "Les brers in a minor". Das nun veröffentlichte Konzert ist eine ganz besondere Show, denn es war die erste Performance der Band in ihrer Heimatstadt Macon nach dem Verlust von Duane. Und es wurde ein fantastischer Auftritt an jenem 11. Februar 1972 im Macon City Auditorium von Macon/Georgia. Wunderbar, dass diese Show nun endlich offiziell für die unzähligen Fans dieser legendären Band zugänglich gemacht wurde.

Das schreibt "Hittin' The Note", das renommierte, den Allman Brothers nahe stehende, Jamrock-Magazin über diese DoCD:

In the 35 year existence of the Allman Brothers Band, the 11-month period of time from November 1971, to the fall of 1972 - often referred to as the "Five-Man Band" era - is an extremely important, emotionally charged, and yet often overlooked chapter of ABB history. On October 29, 1971, the band lost its founder, spiritual leader, and guiding force when guitarist Duane Allman was killed in a motorcycle crash in Macon, Georgia. Words cannot describe the magnitude of devastation that hit the group, but the notion that the band might call it quits was quickly discounted - Duane would have wanted them to play on, so play on they did. Replacing Duane with another guitarist, however, was not an option, so the Allman Brothers decided to move forward as a quintet. They finished recording the studio album that they were working on at the time of Duane's passing - subsequently entitled Eat a Peach - and produced three classic tracks; "Ain't Wastin' Time No More," "Melissa," and "Les Brers in A Minor."

The remaining members - Gregg Allman on vocals and keyboards, Dickey Betts on guitar, Berry Oakley on bass, and drummers Butch Trucks and Jaimoe - hit the stage less than a month after Duane's death, and the music that literally burned with passion served as the best possible form of grieving. At the same time, their style of music was forced to change - missing were the dual harmony lines of Duane and Dickey, as well as Duane's slide guitar mastery. As a result, responsibilities shifted within the group. Aside from now being the only guitarist in a traditional two-guitar line-up, Dickey also took on the unenviable task of playing Duane's slide parts on some of the band's signature tunes, a challenge he more than met - Dickey displayed a versatility that few knew he possessed. Gregg stepped up his Hammond B-3 playing, and his vocals were more important than ever. It was Berry Oakley, however, who underwent the largest transformation. Berry had always played bass like a third guitarist, but with Duane gone, Oakley's playing became monstrous - his thundering lines filled all sorts of voids in the music with an emotion and splendor that was part evil, part magic.

This two-CD package is taken from a show at the Macon Auditorium on February 11, 1972. It was the band's 23rd show without Duane, and the first in their hometown since his loss. Playing two sets that day, the band put on a five-star performance - the music sounded comfortable, natural, and powerful.

After Gregg dedicated the show to "Brother Duane," the Allmans launched into "Statesboro Blues" with Dickey's country-flavored slide and Berry's prowling bass setting the tone, which carried over into a lean "Done Somebody Wrong." Gregg then announced a new song, "Ain't Wastin' Time No More," which was Eat a Peach poignant. A cooking "One Way Out" has Gregg on piano duplicating Duane's slide riff, and then comes a version of "Midnight Rider" with Dickey and Berry combining forces to make up for Duane's absence. The 21-minute "You Don't Love Me" absolutely belongs to Dickey Betts, who delivers a majestic, soaring run that encapsulates the utmost brilliance of his skills. Gregg shines on a sultry "Stormy Monday," which gives way to "Hoochie Coochie Man," where Oakley's whimsical vocals are in stark contrast to his precise bass playing, and "Hot 'Lanta" shows that the ABB could still swing like a jazz band.

Disc Two kicks off with "Les Brers in A Minor," and Berry's bass surges like a tide as Dickey blisters the fretboard, with Butch and Jaimoe underneath, pushing everyone along. "Trouble No More" - sans slide- segues into Berry's renowned opening to "Whipping Post," which showcases a compelling solo by Dickey that climaxes with a maddening crescendo. It was the perfect closer to a day when the Allman Brothers truly were hittin' the note for the folks in Macon.

By the late summer of 1972, the group found itself going through an unplanned but fulfilling transition. During this time, a series of informal jams with the Allman Brothers and a hot young keyboardist named Chuck Leavell took place, and the musical dialogue spoke volumes. The solution to filling out the band's sound became clear - instead of adding another guitarist, they would bring in Chuck's piano as a second lead instrument, and in October 1972, they entered Capricorn Studios to begin work on their next record. After 92 shows, the "Five-Man Band" segment of the Allman Brothers ended on November 2, 1972, when the new line-up played its first gig at Hofstra University, which was taped for ABC's late-night program, In Concert.

Just as the band seemed to be righting itself and heading in a new direction, tragedy struck again. On November 11, 1972, Berry Oakley was killed when his motorcycle collided with a city bus in Macon, only three blocks from the site of Duane's fatal crash. Despite the incomprehensible loss of another Brother, the ABB gamely moved on, adding Lamar Williams on bass and finishing the album Brothers and Sisters, which was dedicated to Berry.

Enjoy this special slice of Allman Brothers' history - just crank up that bass and let 'er boom, 'cause that's what B.O. woulda wanted.

John Lynskey
Hittin' the Note Magazine

Die komplette Setlist:

Disc 1
1. Statesboro Blues - 5:38
2. Done Somebody Wrong - 3:45
3. Ain't Wastin' Time No More - 4:56
4. One Way Out - 6:58
5. Midnight Rider - 3:14
6. You Don't Love Me - 21:32
7. Stormy Monday - 8:26
8. Hoochie Coochie Man - 4:49
9. Hot 'Lanta - 6:18

Disc 2
1. Les Brers In A Minor - 11:55
2. Trouble No More - 3:53
3. Whipping Post - 16:10

Art-Nr.: 8058
Gruppe: Musik || Sparte: Rock
Status: Angebot || Typ: CD || Preis: € 11,90

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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

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Brothers Osborne - port saint joe [2018]
Präsentierten sie schon vor rund 2 Jahren mit "Pawn shop" ein genauso von den Kritikern und Experten, wie auch von den Fans gleichermaßen als außergewöhnlich stark bewertetes, fantastisches Debut, so legen die Brothers Osborne aus dem U. S. Bundesstaat Maryland nun mit "Port Saint Joe" auf einem fast noch höheren Level nach. Welch eine famose Vorstellung von T. J. Osborne (großartiger Lead Gesang, akustische Gitarre) und seinem Bruder John Osborne (guitars, mandolin, pedal steel, harp). Die Beiden imponieren durch überragende Musikalität und bestechendes Songwriting und präsentieren sich dabei, geschickt zwischen Country-Tradition und Moderne hin und her balancierend, ungemein variabel. Exzellent produziert von Jay Joyce (u.a. Eric Church und Little Big Town) hören wir 10 neue, bärenstarke Tracks ohne jeden Ausfall. Die Bandbreite geht von überaus "hippen", zeitgemäss modernen Countryrock-Knallern ala Big & Rich (das über 6-minütige "Shoot me straight" mit famosen Tanz-Grooves und irre starkem E-Gitarren-Solo), über wunderschöne New Country-Balladen (z. B. das herrliche "I don't remember me"), rootsigen, schön bluesigen, rauen, durchaus ein wenig an Chris Stapleton erinnernden Outlaw-Country ("Weed, Whiskey and Willie" - abermals kerniges, packendes E-Gitarrenspiel), Manolinen-getränkten, ein gewisses Zac Brown Band-Flair ausstrahlenden, lockeren, lupenreinen Country ("Tequila again"), traumhafte Retro-Countryrocker im Stil der Nitty Gritty Dirt Band ("Pushing Up Daisies"), bis hin zu dem entspannten, akustisch gehaltenen Finaltrack "While you still can". Was die Burschen auch anpacken - es funktioniert nicht nur, es "kickt" regelrecht, es packt einen einfach. Die Brothers Osborne gehören mit Recht zu den viel beachtetsten und gefeiertsten Newcomern in Nashville. Da ist, in Einklang mit hoher musikalischer Kompetenz und Qualität, eine große Karriere zu erwaten. Ein geniales, zweites Album der Brothers Osborne!

Hier noch ein Original U.S.-Review:

Reigning ACM Duo of the Year’s sophomore album showcases their depth of artistry and growth since the release of debut “Pawn Shop” three years ago.
It’d be easy to expect Brothers Osborne (John and TJ Osborne) to keep releasing songs which continue what they started on their critically and commercially acclaimed debut Pawn Shop but instead, they’ve taken that album and built upon it with Port Saint Joe.
Recorded at producer Jay Joyce’s home on the coast of Florida, the album showcases the next step in their evolution by blending country, rock and blues into the intoxicating stew that is Port Saint Joe. First single “Shoot Me Straight” rocks much like their last single “It Ain’t My Fault” did and served as the perfect bridge single from album to album. The other nine songs — all co-written by John and/or TJ expand from the extended boogie that is “Shoot Me Straight” and we instead get honest musings on life, love and everything in between, whether it’s the evocative “I Don’t Remember Me (Before You)” or the blues-soaked “Weed, Whiskey And Willie.” There’s the mandolin-laced “Tequilla Again,” a song which talks about the voodoo-like power the Mexican spirit has on us every time we go too far with the tasty (yet potent) drink (and also serves as an allegory for a bad romantic relationship).
“A Couple Wrongs Makin’ It Right” is a funky song where it feels like a melding of the band Cake and The Band as if filtered through a twangy jangle. “A Little Bit Of Trouble” is just downright straight out of a Stax Record while the lovely romantic “Pushing Up Daisies” and gentle, acoustic closer “While You Still Can” offer the kind of wisdom and honesty that grounds Brothers Osborne in country music.
There’s not another band doing what Brothers Osborne does in country music (or really any other genre) and their deft blend of their influences and sharp songwriting make Port Saint Joe a wonderfully layered album worthy of repeated trips to the record player to listen to over and over again.
(Matt Bjorke/Roughstock)

Das komplette Tracklisting:

1. Slow Your Roll - 2:59
2. Shoot Me Straight - 6:24
3. I Don't Remember Me (Before You) - 3:12
4. Weed, Whiskey And Willie - 4:20
5. Tequila Again - 3:31
6. A Couple Wrongs Makin' It Alright - 2:54
7. Pushing Up Daisies (Love Alive) - 3:39
8. Drank Like Hank - 3:09
9. A Little Bit Trouble - 4:04
10. While You Still Can - 3:44

Art-Nr.: 9618
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 15,90

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Cary, Caitlin - i'm staying out [2003]
Caitlin Cary, ex Mitstreiterin von Ryan Adams und Whiskeytown-Mitglied (Violine, Gesang) legt nun nach ihrem vielbeachteten letztjährigen Debut mit "I'm staying out" ihren zweiten kompletten Longplayer vor! Und wieder ist die US-Presse voll des Lobes! Zu recht! Es ist ein ganz großartiges Singer-Songwriter/ Americana/ Alternate Country/ Rootsrock/ Rootspop-Album geworden, das man mit seinen dezente Folkeinflüssen und einem ganz seichten, im Gegensatz zum ersten Album deutlich zurückgefahrenen, britischen Retro-Pubrock-Flair ala Nick Lowe, in der Schiene Kim Richey, Rosanne Cash, Tift Merritt, Mary Chapin Carpenter, Wilco & Co ansiedeln muß. Vor allen Dingen die musikalischen und stimmlichen Parallelen zu den Songs einer Mary Chapin Carpenter, die im übrigen auch bei 3 Stücken als Background-Sängerin mitwirkt, sind zuweilen unverkennbar. MIt dem neuen Album hat sich Caitlin Cary endgültig als Solokünstlerin bzw. Frontfrau einer eigenen Band etabliert. Nach dem ersten Album war sie unermüdlich mit ihrer Truppe auf Tour. Und während dieser Tour sind unter dem Eindruck und den Erlebnissen der gesamten "Bandfamilie" nahezu alle Songs "on the road" entstanden. Dementsprechend verspürt man auf "I'm staying out" auch jederzeit die Harmonie einer eingespielten Band, zu der neben den beiden Gitarristen Dave Bartholomew und Brian Dennis, Keyboarder Jen Gunderman und Drummer Jan Wurster auch der allseits bekannte Soundtüftler und Produzent Don Dixon (R.E.M., Marshall Crenshaw etc.) am Bass zählt. Alles wirkt live eingespielt. Cary ist eine excellente Songwriterin und Geschichtenerzählerin, immer wieder mit dem Gespür für die richtigen Melodien. Ihre sich zumeist im recht knackigen Midtempo-Bereich befindlichen Songs wirken immer locker, sind durchtränkt von einer charmant entspannten Atmosphäre. Die Instrumentierung aus all möglichen Gitarren, Mandoline, auch mal einem Dobro oder einer Steel, Orgel, klassischem, wie auch dezent funky wirkendem elektrischem Klavier, Caitlin's Geige und dem gediegenen Background aus Drums und Bass kommt sehr transparent, vielschichtig und variabel rüber. Passt alles prächtig zusammen! Das beweist auch sofort der Eröffnungssong "Empty rooms", eine aus satter Orgel, variantenreichem Klavierspiel, sowie akustischen und elektrischen Gitarren, sehr breitgefächert instrumentierte Midtempo Roots-/Americana-/Alternate Country-Nummer. Wirkt mit ihrer herrlichen Melodie ungemein gefällig. Enthält ein schönes Violinensolo von Caitlin, und Mary Chapin Carpenter unterstützt sie mit ihrem vorzüglichen dazu passenden Background-Gesang. Voller sonnigem Folk- und Pop-Flair steckt die wieder sehr reichhaltig instrumentierte und wunderbar entspannte Singer-Songwriter-Nummer "Sleepin' in on Sunday" in bester Shawn Colvin-Tradition, während die tolle Uptempo Pop-Rock-Nummer "You don't have to hide" einfach nur gute Laune pur versprüht. "The next one" ist dann wieder herrlicher, rootsiger, countryinfizierter Singer-Songwriter-Stoff, angereichert mit einer tollen elektrischen Slide und durchzogen von einer wunderbaren Melodie. Kommt rüber wie eine überaus gelungene Mischung aus Mary Chapin Carpenter und einem weiblichen Jackson Browne! Klasse auch die langsame, etwas bluesige, angeswingte Countrynummer "Please break my heart" (Patsy Cline läßt grüßen...), der fetzige Uptempo-Roots-Pop-Rocker "Cello girl", das sehr flockige, Mandolinen getränkte, etwas folkige New Country-Stück "Beauty fades away", die herrlich melodische semi-akustische Countrynummer "I'm staying out" wieder mit dieser vielseitigen Instrumentierung, und schließlich auch das gelungene Cover des Continental Drifters Tracks "I want to learn to waltz with you". Für die klasse Produktion zeichnet Chris Stamey verantwortlich! Ganz klar, Ryan Adams ist nicht das einzige außergewöhnlicheTalent, das aus den Reihen von Whiskeytown hervorgegangen ist. Caitlin Cary ist auf dem Weg eine ganz Große zu werden. Ein excellentes Album, ein Genuß für die Genre-Fans!

Art-Nr.: 1929
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 17,90

In folgende Titel können Sie reinhören:
Empty rooms
You don't have to hide
The next one
I'm staying out

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Cash, Johnny - bootleg vol. IV: the soul of truth [2012]
2 CD-Set! Die mittlerweile schon "kultige", großartige "Bootleg"-Serie mit raren und hoch interessanten Johnny Cash-Aufnahmen geht weiter. Im vierten Teil wird Cash's spirituelle Seite und seine Verbundenheit zur Gospel-Musik durchleuchtet. Die vorliegende Doppel-CD enthält 3 sehr rare, komplette Alben, davon eins aus dem Jahre 1975, das bislang nie veröffentlicht wurde (die anderen beiden sind "A believer sings the truth" und "Gospel singer", das erwähnte, unveröffentlichte Werk von 1975 hat niemals einen Titel bekommen), sowie weitere seltene und bislang noch nie erschienene Tracks und Outtakes. Insgesamt sind das 51 Songs, davon 15 bislang unveröffentlicht. Dazu gibt's im Booklet sehr informative Liner-Notes, geschrieben von Johnny's Sohn, John Carter Cash. Klasse!

Die Original-Produktbeschreibung:

If not for gospel music, there never would have been a Johnny Cash. When Cash decided he wanted to be an entertainer, there was really only one type of music he intended to sing. Although Cash reinvented himself many times during his life, there was one way in which he never did: His faith. And this faith, with its roots so firmly planted in gospel music, stayed with him throughout his life.
Bootleg Vol. IV: The Soul Of Truth presents an intimate and personal look at Cash s passion for gospel music and his own spiritual path. Bootleg Vol. IV presents three rare albums in their entirety: A Believer Sings The Truth; an untitled, unreleased 1975 set; and Johnny Cash Gospel Singer. Among these hard-to-find recordings are 15 unreleased tracks including outtakes from the sessions at which the albums were recorded.
Johnny Cash's son, John Carter Cash, provides liner notes that detail Cash's upbringing on gospel and his passion for recording and performing this music despite resistance from his record labels. Though he would sing many kinds of music in his life, he was never truer than when he sang songs of faith.
To fully grasp Cash's legend, one must hear his earliest performances, as well as unreleased or under-promoted recordings that somehow remained out of earshot of an adoring (and still-expanding) public. Such is the mission of the Johnny Cash Bootlegs, a series of multiple-disc packages brimming with historical importance but also delivering thoroughly enjoyable listening experiences, each programmed to stand as a captivating doorway into Cash's popular legacy as effectively as any greatest hits compilation.

Das komplette Tracklisting:

Disc 1
1. Wings in the Morning - 2:45
2. Gospel Boogie (A Wonderful Time Up There) - 2:39
3. Over the Next Hill (We'll Be Home) - 2:35
4. He's Alive - 4:16
5. I've Got Jesus in My Soul - 2:40
6. When He Comes - 3:32
7. I Was There When It Happened - 2:15
8. I'm a New Born Man - 1:42
9. Strange Things Happening Every Day - 3:32
10. Children Go Where I Send Thee - 2:43
11. I'm Just an Old Chunk of Coal - 2:14
12. Lay Me Down in Dixie - 2:01
13. Don't Take Everybody to Be Your Friend - 2:24
14. You'll Get Yours and I'll Get Mine - 2:21
15. Oh Come, Angel Band - 2:45
16. This Train Is Bound for Glory - 3:30
17. I'm Gonna Try to Be That Way - 2:49
18. What on Earth Will You Do (For Heaven's Sake) - 2:08
19. That's Enough - 2:43
20. The Greatest Cowboy of Them All - 3:58
21. Didn't It Rain - 2:29
22. He Touched Me - 2:34
23. Way Worn Traveler - 1:54
24. I'll Have a New Life - 2:19
25. Truth - 2:17

Disc 2
1. Back in the Fold - 3:25
2. Look Unto the East - 2:33
3. I Was There When It Happened - 2:11
4. Sanctified - 2:24
5. Would You Recognize Jesus - 2:34
6. That's Just Like Jesus - 3:12
7. What on Earth Will You Do (For Heaven's Sake) - 3:14
8. Keep Me from Blowing Away - 3:06
9. Don't Give Up on Me - 2:35
10. Over the Next Hill (We'll Be Home) - 2:20
11. Far Side Banks of Jordan - 2:50
12. Our Little Old Home Town - 2:43
13. Belshazzar - 2:59
14. My Children Walk in Truth - 2:39
15. The Old Rugged Cross - 2:25
16. One of These Days I'm Gonna Sit Down and Talk to Paul - 3:09
17. God Ain't No Stained Glass Window - 3:09
18. Half a Mile a Day - 3:23
19. Another Wide River to Cross - 2:27
20. You're Drifting Away - 1:38
21. Believe in Him - 3:28
22. Over There - 3:14
23. Gospel Road - 3:45
24. What Is Man - 2:33
25. Wildwood in the Pines - 2:23
26. Never Grow Old - 2:39

Art-Nr.: 7748
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 15,90

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

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

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

THE ONE THAT GOT AWAY

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

I HAD ME A GIRL

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

SAME OLD SAME OLD

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

DUST TO DUST

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

EAVESDROP

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

DEVIL'S BACKBONE

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

FROM THIS VALLEY

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

TELL MAMA

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

OH HENRY

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

DISARM

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

SACRED HEART

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

D'ARLINE

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

Das komplette Tracklisting:

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

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

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Clark, Brandy - big day in a small town [2016]
Zweites, mit Hochspannung und viel Vorschusslorbeeren bedachtes Album der Singer/Songwriterin Brandy Clark, die man ohne jeden Zweifel zu einer der beachtenswertesten Country-Künstlerinnen des heutigen Nashville zählen muss. Vollkommen zu Recht, wie das exzellente, neue Werk untersctreicht. Modern und klassisch zugleich ist die Scheibe ein Musterbeispiel für "jungen" New Country auf höchstem Niveau. Die 40-Jährige, ursprünglich aus Morton, Washington, stammende Künstlerin, präsentiert mit "Big Day In A Small Town" diesmal ein als Art Konzeptalbum aufgebautes Werk, das in elf sympathischen Anekdoten das Kleinstadtleben mit all seinen Klischees und Facetten beleuchtet. Brandy Clark hatte zu Anfang ihres musikalischen Treibens, nachdem sie eine Basketballkarriere aufgegeben hatte und zugunsten der Musik nach Nashville gezogen war, zunächst große Erfolge als Songlieferant für bekannte Acts der Szene wie Sheryl Crow, Miranda Lambert ("Mama’s Broken Heart"), The Band Perry ("Better Dig Two"), Reba McEntire, LeAnn Rimes, Billy Currington, Darius Rucker oder Kacey Musgraves ("Follow Your Arrow") zu verzeichnen. Diverse Nominierungen (u. a. bei den Grammys) und für letztgenannten Song sogar ein CMA-Award, ließen keinen Zweifel an ihren kreativen Qualitäten aufkommen. Seit 2012 konzentriert sich Clark nun auch auf ihre eigene Karriere als Interpretin. Nach einer EP und ihrem, von Kritikern mit Lob überschütteten Major-Debüt "12 Stories", das in kommerzieller Hinsicht allerdings noch nicht die erwartete Resonanz erfuhr, soll jetzt mit "Big Day In A Small Town", für das ihr Warner Bros. Top-Produzent Jay Joyce (u. a. Little Big Town, Eric Church, Carrie Underwood) zur Seite stellte, der endgültige Durchbruch geschafft werden. Die spannende Frage war hier, ob das Gespann Joyce, der ja in letzter Zeit mit seinen sehr modernen 'nnovationen viel Kritik der herkömmlichen New Countryklientel auf sich zog, und die eher in Richtung klassischer Vorbilder Marke Patsy Cline oder Reba McEntire gestrickte Protagonistin zusammen überhaupt harmonieren würden. Um es vorweg zunehmen, es hat prächtig funktioniert, da sich Joyce der eher traditionell ausgerichteten Akteurin weitestgehend untergeordnet hat und nur an einigen wenigen "Stellschrauben", im Vergleich zum Vorgänger, marginal gedreht hat. Das Ergebnis ist ein prächtiger Mix, bzw. Kompromiss aus einigen sehr eingängigen, herrlichen New Country-Tracks mit Hit-Ambitionen, so wie die melodischen Opener "Soap Opera" (chorales Intro, Banjounterlegung, E-Gitarren-Kurz-Solo) und dem flockigen "Girl Next Door" (beide mit Sugarland-Flair) oder der humorvolle groovige Country Rocker "Broke" und das flotte "Love Can Go To Hell" (ein wenig Fleetwood Mac goes Country), sowie, gerade im zweiten Teil des Albums, einer schönen Inszenierung altbewährter, klassischer Countrymusic mit dem typischem, breitgefächerten Storytelling, wie ihn zum Beispiel Kacey Musgraves in letzter Zeit so vortrefflich und erfolgreich praktiziert hat. Die bedankt sich übrigens bei Brandy für ihre, bereits o. a. Dienste, in dem sie bei dem großartigen, traditionellen "Daughter" ihren feinen Harmonie-Gesang mit einbringt. Die von Lori McKennas Handschrift gezeichnete Hommage an das schwere Leben allein erziehender Mütter "Three Kids No Husbands" oder der Saloon-Heuler "Drinkin' Smokin' Chheatin'" (ganz allein aus Brandys Feder - die auch die übrigen Tracks, naturgemäß mit diversen Co-Writern wie u. a. schwerpunktmäßig Shane McAnally und Jessie Jo Dillon, kreiert hat), sind weitere Exemplare aus der "guten alten Zeit" des Genres. Mit "Homecoming Queen", "You Can Come Over" (schöne, Procul Harum-mäßige Orgel) und dem abschließenden, melancholischen, den Verlust des Vaters beklagenden "Since You've Gone To Heaven", wurden ein paar atmosphärische Balladen eingeflochten, die den ausdrucksstarken Gesang Clarks vortrefflich dokumentieren. Eingespielt haben das Werk gestandene Musiker u. a. wie Fred Eltringham, Dave Roe, John Deaderick (setzt viel Akzente an den diversen Keys), Forest Glen Whitehead, Jay Joyce, Keith Gattis und Rob McNelley. "Big Day In A Small Town" präsentiert Brandy Clark als "komplette" Künstlerin, die sowohl als exzellente Songschreiberin, großartige Sängerin, und auch als Instrumentalistin (Akustik-Gitarre) voll zu überzeugen weiß. Mit Jay Joyce, diesmal als feinfühligem Produzenten an ihrere Seite, könnten jetzt die großen Erfolge bevorstehen. Verdient hätte sie es ohne jeden Zweifel. Ein tolles Album.einer ganz großartigen Künstlerin. (Daniel Daus)

Das komplette Tracklisting:

1. Soap Opera - 3:27
2. Girl Next Door - 4:31
3. Homecoming Queen - 3:07
4. Broke - 3:39
5. You Can Come Over - 3:53
6. Love Can Go to Hell - 3:57
7. Big Day in a Small Town - 3:43
8. Three Kids No Husband - 3:14
9. Daughter - 3:19
10. Drinkin' Smokin' Cheatin' - 2:57
11. Since You've Gone to Heaven - 4:31

Art-Nr.: 9191
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 15,90

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Donahew Band, Casey - moving on [2009]
Prächtiger "Red Dirt"-Countryrock voller Leidenschaft, herrlicher Melodien, würziger Instrumentierung und mit einem ungemein erfrischend klingendem Sound. Die aus Burleson/Texas stammende Casey Donahew Band gilt, obwohl sie bereits schon drei CDs veröffentlicht hat, in hiesigen Red-Dirt-Kreisen noch immer als so etwas wie ein gut behütetes Geheimnis der Szene. Das muß sich, und wird sich sicher auch, mit ihrem von Erik Herbst (u.a. Eli Young Band, Macon Greyson, Kyle Bennett Band) hervorragend produziertem, vierten Werk "Moving On" schlagartig ändern. Die Scheibe ist ein Knüller und meistert den gar nicht so einfachen Spagat zwischen radiofreundlicher Melodik und anspruchsvoller, überaus kompetenter instrumenteller Umsetzung, genau wie auch den zwischen erdigem, unbekümmertem, rootsigen Texas Roots-Staub und traditionell verwurzelter Nashville-Kompatibilität als wäre es das natürlichste von der Welt. Das ist richtig klasse! Leader der Band ist, wie der Name es schon vorgibt, Casey Donahew, der als Sänger, Gitarrist und Songschreiber klar den Takt vor gibt. Begleitet wird er von Steve Stone (Bass), Donte “Taz“ Gates (Drums), Josh Moore (Fiddle) und John “JZ” Zaskoda (Electric guitars), alles großartige Musiker. Gemanagt wird das Quintett von Casey’s Frau, Melinda. Laut eigener Aussage bezeichnet die Band ihren Stil als "Pure Texas Country" und sieht sich beeinflusst von Interpreten wie Pat Green, Cross Canadian Ragweed, Jack Ingram und Robert Earl Keen, wobei hier aber auch Acts wie No Justice, die Randy Rogers Band, die Eli Young Band, Wade Bowen, die Tommy Gallagher Band oder Zack Walther and The Cronkites genannt werden können. Dieses "Pure Texas Country", wie sie ihre Musik nennen, muß man allerdings schon um das Wörtchen "Rock" ergänzen, denn die Casey Donahew Band weist wirklich alle Mermale einer klassischen Countryrock-Formation auf und lässt durchaus auch Erinnerungen an die goldenen Tage des "vintage Countryrocks" der Siebziger aufkommen. Zudem gilt die Trupper als heiß begehrter Live-Act, die das Publikum mit langen, ausgedehnten Sets und unbändiger Energie (in ihrer Live-Präsenz vergleicht man sie sogar mit der Power Springsteen's) mitreisst. Los geht's mit der ersten Single des Albums, dem beeindruckenden, dynamischen, lockeren, aber sehr knackigen Countryrocker "Ramblin' kind", der nicht nur aufgrund des Songtitels unterschwellige Parallelen zu Dickey Betts' "Ramblin' Man", bzw. der "Brothers and sisters"-Ära der Allman Brothers aufweist. Dazu kommen natürlich die typischen, unwiderstehlichen "Red Dirt"-Anlagen, wie man sie so eben nur in Texas spielt. Beinhaltet zwei exzellente, jeweils wechselnde Solo-Passagen zwischen Fiffle und elektrischer Lead Gitarre (zunächst heulende Fiddle/E-Gitarren-Solo dann in umgekehrter Reihenfolge E-Solo mit anschließendem Fiddle-Konter), wobei die flinken Finger von Gitarrist John Zaskoda in einer Würze ind Lockerheit über die Saiten gleiten wie einst bei Dickey Betts oder Hughie Thomasson (The Outlaws). Der Song ist ein richtiger Leckerbissen für die Countryrock- und "Red Dirt"-Enthusiasten. Wenn das kein Riesen-Hit in den Texas Music-Charts wird...! Auch im weiteren Verlauf strotzt die CD geradezu vor erfrischend gutem, voller toller Melodien bestücktem, tollem Songmaterial: Herrlich beispielsweise die beiden super melodischen "Next Time" (mit southern-typischem E-Gitarren-Spiel) und "Breaks My Heart" (mit Steel, Fiddle und schönem E-Gitarren-Solo), das flockige "California" (starker "Red Dirt"-Countryrock mit einem Hauch von Westcoast), das rootsig stampfende, grandiose, gitarrenbetonte "Nowhere Fast" , das im Fahrwasser von Cross Canadian Ragweed befindliche, rockige "Burn This House Down" (feines Southern-Flair, starke Drums), oder die mit wohl dosierten Streicherpassagen verzierte Ballade "Angel", welche allesamt auf Grund ihrer Eingängigkeit wohl kaum von den Radiostationen ignoriert werden dürften. Die Band hat natürlich, wie in Red Dirt-Kreisen üblich, das gesamte Material selbst komponiert und in Eigenregie eingespielt, wobei allerdings auch einige wenige, auserwählte Gastmusiker Akzente setzen. Hier drückt besonders der agile Multiinstrumentalist Milo Deering mit Pedal Steel (stark u.a. bei der famosen, recht traditionell in Szene gesetzten, flockigen, lupenreinen New Country-Nummer "Strong Enough" mit ihrer frappierenden Nähe zu der nicht unter zu krigenden, gerade wieder mit einem glänzenden Album aufwartenden Nitty Gritty Dirt Band), Mandoline (das wunderbare "Let Me Love You") und Dobro ("Break Me Down") seinen markanten Stempel auf. Am Ende geht mit dem Titelstück "Moving On" (inkl. eines klasse Hiddentracks, der nach etwas 5.14 Minuten einsetzt) noch mal so richtig die Post ab. Der ein wenig an Charlie Daniels' "Trudy" erinnernde, als traditioneller Countrystomper in Cross Canadian Ragweed-Manier abgewandelte Song (Donahew's frecher Gesang im Stile von Cody Canada ist klasse), besticht durch seine klug ineinander verschachtelten Tempovariationen und seine instrumentellen Finessen (schön klimperndes Piano, wiehernde Fiddle, starkes E-Gitarren-Solo, prima Orgel) und dürfte einen atmosphärischen Vorgeschmack auf Casey Donahew's kommendes Live-Programm abgeben. "Moving On" von der Casey Donahew Band bietet insgesamt eigentlich alles, was eine starke "Red-Dirt"-Countryrock-Scheibe ausmacht. Ein hohes Maß an Kreativität und eine hervorragende Instrumentierung als Bestandteil authentischer, abwechslungsreicher und eingängiger Songs für das gesamte Spektrum der Klientel - und das noch ohne jede Schwachstelle. Eines der vielleicht besten "Red-Dirt"-Countryrock-Veröffentlichungen des Jahres 2009! Wir sagen respektvoll: "So kann's weitergehen", Jungs! "Move On, Casey Donahew Band"! (Daniel Daus)

Das komplette Tracklisting:

1 Ramblin' Kind - 3:33   
2 Next Time - 3:31   
3 Breaks My Heart - 3:52   
4 California - 3:27   
5 Nowhere Fast - 3:32   
6 Let Me Love You - 3:48   
7 Burn This House Down - 3:58   
8 Break Me Down - 3:50   
9 Strong Enough - 3:27   
10 Broken - 3:32   
11 Angel - 4:31   
12 Moving On - 9:59 (incl. hidden track)

Art-Nr.: 6605
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 13,90

In folgende Titel können Sie reinhören:
Ramblin' kind
Next Time
Breaks my heart
Let me love you
Burn this house down
Strong enough
Broken

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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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Giddens, Rhiannon - tomorrow is my turn [2015]
Großartiges Solo-Debut der Frontfrau und Multi-Instrumentalistin von den Carolina Chocolate Drops. Die fantastische Sängerin brilliert mit einer ungemeni facettenreichen Scheibe zwischen Americana, Roots, Folk, Blues, Jazz, Country, Gospel, Rock und Soul, produziert von T Bone Burnett. Bärenstark beispielsweise ihre Interpretationen von Dolly Parton's "Don't let it trouble your mind" oder Elizabeth Cotten's "Shake sugaree". Unter den beteiligten Musikern sind solche Größen wie etwa T Bone Burnett (guitar), Colin Linden (guitar), Dennis Crouch (bass), Jay Bellerose (drums), Gabe Witcher (fiddle) und Keefus Ciancia (keyboards). Charismatisch! Edel!

Die Origianl-Produktbeschreibung:

Rhiannon Giddens, singer, songwriter, multi-instrumentalist, and founding member of Grammy Award-winning Carolina Chocolate Drops, makes her solo recording debut with Tomorrow Is My Turn, due out February 10, 2015, on Nonesuch Records. The album was produced by T Bone Burnett.
Burnett first worked with Giddens when she performed last fall at a concert he curated at New York City’s Town Hall that was later broadcast on Showtime: Another Day, Another Time: Celebrating the Music of “Inside Llewyn Davis.” Backstage, Burnett was immediately moved to ask if he could produce a record with her. “It was clear the first time I heard her at rehearsal that Rhiannon is next in a long line of singers that include Marian Anderson, Odetta, Mahalia Jackson, Rosetta Tharpe,” Burnett says. “We need that person in our culture.”
For her first solo disc, Giddens chose a broad range of songs from genres as diverse as gospel, jazz, blues, and country. In addition to the traditional “Black Is the Color,” tracks include Hank Cochran’s “She’s Got You,” made famous by Patsy Cline; Dolly Parton’s “Don't Let It Trouble Your Mind”; “O Love Is Teasin’,” popularized by the Kentucky-reared “mother of folk” Jean Ritchie; and Elizabeth Cotton’s “Shake Sugaree.”
“I had already started putting together a list of songs that didn’t really fit into the Chocolate Drops world,” Giddens explains. “At the top was ‘Tomorrow Is My Turn’ [immortalized by Nina Simone]. Seeing Nina do it on YouTube was revelatory. I knew she’d gone through a lot of hard times, as so many people did in that time period. Watching her sing this song, with the words ‘tomorrow is my turn,’ I began to think about the struggle of her and women like her.” The significance of this song led Giddens to make it the title of the album as well. “Other songs started getting on my list and they were all by women or interpreted by women,” she says.
"Tomorrow Is My Turn" was recorded in Los Angeles and Nashville, with a multi-generational group of players whom Burnett assembled. Among them are fiddle player Gabe Witcher and double bassist Paul Kowert of label-mates Punch Brothers; percussionist Jack Ashford of Motown’s renowned Funk Brothers; drummer Jay Bellerose; guitarist Colin Linden; legendary backup singer Tata Vega; veteran Nashville session bassist Dennis Crouch; and Giddens’ Drops touring band-mates, multi-instrumentalist Hubby Jenkins and beat-boxer Adam Matta.

Das komplette Tracklisting:

1. Last Kind Words - 4:13
2. Don't Let It Trouble Your Mind - 3:39
3. Waterboy - 3:45
4. She's Got You - 4:17
5. Up Above My Head - 3:09
6. Tomorrow is My Turn - 4:37
7. Black Is the Color - 3:45
8. Round About the Mountain - 3:30
9. Shake Sugaree - 4:24
10. O Love Is Teasin' - 4:32
11. Angel City - 3:52

Art-Nr.: 8790
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 13,90

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Grateful Dead - crimson, white & indigo: philadelphia, july 7, 1989 [2010]
3 CD & 1 DVD-Set! 7. Juli 1989 im JFK-Stadium von Philadelphia! Das komplette Konzert, sowohl auf 3 CDs, als auch auf DVD! Die DVD spielt knapp 3 Stunden (ebenso natürlich die CDs) und ist "code free" (auf jedem DVD-Player abspielbar)! Exzellente Bild- und Tonqualität! Die CDs sind in HDCD gemastert, die DVD bietet 2.0 Stereo und 5.1 Surround Mixes!

Hier die offizielle Grateful Dead Release-Infos zu diesem 3CD/DVD-Pavckage:

Here’s a cool way to kick off the new year and decade: Coming soon is a fantastic new release called Crimson, White and Indigo, a DVD/3-CD set that captures every second of the Grateful Dead’s superb July 7, 1989 concert at Philadelphia’s John F. Kennedy Stadium. If you loved the popular 2005 DVD/CD release Truckin’ Up to Buffalo, from July 4, 1989, well, this is the very next show: why, it’s practically like being on tour without having to pitch in gas money, eat bad road food, swelter in the heat or score a miracle ticket. Nope, all the work has been done for you—from the crisp multiple-camera shoot (with no video effects, you’ll be happy to hear) produced from the tastefully executed live screen video feed directed by long-time Grateful Dead collaborator and concert video guru Len Dell'Amico, to the crystal clear and powerful audio, mixed from the original 24-track analog tapes in both Dolby Digital stereo and 5.1 surround (for the DVD), and mastered in HDCD (for the CD). But the proof is (always!) in the playing, and this show from the sizzling summer of ’89 tour is sure to please both hard core and casual fans with its energy, diverse song list and passionate playing.

Two years removed from the craziness that surrounded the “comeback” tour of 1987 and the Dead’s unprecedented flirtation with mainstream success—thanks to “Touch of Grey” and the In the Dark album—the group was still riding the crest of that wave and attracting thousands of new fans with each passing tour. The summer of ’89 began in style for the Dead on the solstice itself with a nationally televised/broadcast concert from Shoreline Amphitheatre in Mountain View, Calif. A week and a half later, the GD circus hit the road for seven East Coast stadium shows, followed by a handful in Midwest amphitheaters. The group was in excellent form throughout, offering a great selection of old and recent favorites, and polishing some of the new songs which would make up their album-in-progress at the time, Built to Last. Visually, the Dead’s stage set that summer was perhaps the most spectacular they ever mounted—designed by noted Czech artist Jan Sawka, it consisted of dozens of enormous painted canvas panels covered with various patterns, colors and shapes—some abstract, some concrete; quite an amazing sight in an enormous stadium.

In what would turn out to be the final rock concert in Philly’s JFK Stadium (the first was The Beatles in August 1966; the aging stadium itself dated back to 1926), the Grateful Dead come out on a brutally hot afternoon (after a fine opening set by Bruce Hornsby & the Range) with rock ’n’ roll on their minds. “Hell in a Bucket” is an appropriate opening choice for a day that is nearly hot as Hades, and then Jerry takes the party to the next level with a truly inspired “Iko Iko.” He’s all smiles, and that’s always a good sign! From there, the first set dips into some blues (“Little Red Rooster”), Hunter-Garcia classics like “Ramble on Rose” and “Loser,” a potent version of Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again,” a wonderfully exploratory version of “Let It Grow,” and finally, Brent Mydland’s still-newish anthem “Blow Away,” which is one of his finest performances of that rockin’ tune.

You gotta love a second set that opens with a warm and inviting “Box of Rain”—peppy and nicely sung—and then right on its heels a “Scarlet Begonias” > “Fire on the Mountain” that is as “up” and celebratory as you could hope for: The “Scarlet” breezes along with joyous purpose, and the “Fire” hits all sorts of mighty peaks; at nearly 25 minutes, it’s a spectacular pairing. “Estimated Prophet” is marked by a smoldering intensity and then the jam that follows settles into the majestic Hunter-Garcia ballad “Standing on the Moon,” surely one of their greatest late-era compositions, and played only seven times before this standout version. The DVD depiction of the “Rhythm Devils” percussion duel gives us a fascinating glimpse of the tools and techniques Mickey and Bill used to create their magical alchemy, and then, following “Space,” the band launches into a hair-raising, careening “Other One” (dig how the camera shows us Phil’s rumbling bass intro up close!), Jerry takes us down to the docks of the city for an emotional “Wharf Rat,” and Bob gets back into party-mode for the concluding “Lovelight.” The encore of Dylan’s “Knockin’ on Heaven’s Door” offers a beautiful grace note for a show that has taken us through so many different spaces and moods.

The beautifully designed package for Crimson, White and Indigo (the name comes from a line in “Standing on the Moon,” of course) includes loads of great photos by Bob Minkin and an essay from veteran Grateful Dead observer Steve Silberman. All in all it’s a wonderful show from a great year!

Die komplette Setlist:

Disc 1
1 Hell in a Bucket - 6:50   
2 Iko Iko - 7:46   
3 Little Red Rooster - 9:32   
4 Ramble on Rose - 7:35   
5 Stuck Inside of Mobile with the Memphis Blues Again - 9:17   
6 Loser - 7:15   
7 Let It Grow - 12:42   
8 Blow Away - 12:29   

Disc 2
1 Box of Rain - 4:46   
2 Scarlet Begonias - 9:58   
3 Fire on the Mountain - 13:42   
4 Estimated Prophet - 9:12   
5 Standing on the Moon - 8:19   
6 Rhythm Devils - 10:08   

Disc 3
1 Space - 10:09   
2 The Other One - 7:47   
3 Wharf Rat - 10:31   
4 Turn on Your Lovelight - 8:20   
5 Knockin' on Heaven's Door - 8:41   

DVD
1 Hell in a Bucket   
2 Iko Iko   
3 Little Red Rooster   
4 Ramble on Rose   
5 Stuck Inside of Mobile with the Memphis Blues Again   
6 Loser   
7 Let It Grow   
8 Blow Away   
9 Box of Rain   
10 Scarlet Begonias   
11 Fire on the Mountain   
12 Estimated Prophet   
13 Standing on the Moon   
14 Rhythm Devils   
15 Space   
16 The Other One   
17 Wharf Rat   
18 Turn on Your Lovelight   
19 Knockin' on Heaven's Door

Art-Nr.: 6867
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 31,90

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Grateful Dead - europe ' 72 - vol. 2 [2011]
Starkes Follow-up zu dem legendären, meisterhaften, vielleicht wichtigsten Album aller Grateful Dead Live-Veröffentlichungen, dem historischen Europe '72. Auf dem Teil 2, einer randvoll gepackten Doppel-CD mit einer Spielzeit von 155 Minuten, sind 20 weitere "previously unreleased tracks, mixed from the original master tapes" enthalten, inklusive einer großartigen, fast einstündigen Jam aus "Dark star" und "The other one". Der Sound ist klasse! Dazu gibt's neues Cover-Artwork von Stanley Mouse!

Hier die offizielle Produktbeschreibung im U.S.-Original:

Europe '72, a triple live album documenting its historic trek across Europe became not only one of the band's best-selling releases, but also set the gold standard for live Dead. Now the group proves you can never get too much of a good thing when it revisits that legendary collection with Europe '71 Vol. 2, an essential continuation of the original that includes more than two hours of unreleased performances from that storied tour.
Grateful Dead archivist David Lemieux, who produced this 20-track compilation, says he only chose song titles that did not appear on Europe '72 as a way to complement the original. "I think this album, coupled with Europe '72, represents a complete overview of the tour in every way," he says. "In fact, songs like "Beat It On Down The Line," "Next Time You See Me" and "Sing Me Back Home" were selected by the Grateful Dead for the first set, but were left off because there wasn't enough room."
In a nod to the original, Vol. 2 features new cover art by Stanley Mouse, the artist who helped create the iconic artwork from Europe '72, which features the return of the legendary Ice Cream Kid. "Trouble comes in many flavors. Ice Cream Kid is in hot water. The jury is out. His only defense is love," says Mouse of the Kid's return.
Recorded at various locations during the band's 22-show tour, the collection captures the Dead in white-hot moments of improvisational revelry as the band explores a number of its most enduring songs, like "Bertha," "Sugaree" and "Playing In the Band," plus relatively obscure cuts like "Black-Throated Wind" and Pigpen's "Chinatown Shuffle."
As a special treat, the set includes an epic hour-plus jam that combines "Dark Star" and "The Other One." Recorded at the Bickershaw Festival, it was the only show on this tour where the band broke out both of these beloved improvisational showpieces. Vol. 2 also includes "Good Lovin" and "Dire Wolf" from the April 26 show at Jahrhundert Halle in Frankfurt, West Germany. While much of that concert was released on 1995's Hundred Year Hall, these particular tracks were not included and have remained unreleased until now.
The high-quality sound heard on Vol. 2 stems from painstaking work done by Jeffrey Norman, who has been the primary mixer of the Dead's archival multi-track material for the past 15 years. For this release, he mixed each show from the original 16-track recordings while two-time Grammy®-winning engineer David Glasser mastered the music to HDCD specs.

Das komplette Tracklisting:

Disc 1:
1. Bertha [Tivoli Concert Hall, Copenhagen, Denmark (4/14/72)] - 5:53
2. Me and My Uncle [Wembley Empire Pool, London, England (4/7/72)] - 3:13
3. Chinatown Shuffle [Tivoli Concert Hall, Copenhagen, Denmark (4/14/72)] - 2:38
4. Sugaree [Olympia Theatre, Paris, France (5/3/72)] - 6:56
5. Beat It On Down the Line [La Grande Salle Du Grand Theatre De Luxembourg (5/16/72)] - 3:11
6. Loser [Tivoli Concert Hall, Copenhagen, Denmark (4/14/72)] - 6:29
7. Next Time You See Me [Olympia Theatre, Paris, France (5/4/72)] - 4:57
8. Black-Throated Wind [Tivoli Concert Hall, Copenhagen, Denmark (4/14/72) - 6:00
9. Dire Wolf [Jarhrhundert Halle, Frankfurt, West Germany (4/26/72)] - 4:46
10. Greatest Story Ever Told [Olympia Theatre, Paris, France (5/3/72)] - 4:52
11. Deal [Olympia Theatre, Paris, France (5/4/72)] - 5:05
12. Good Lovin' [Jahrhundert Halle, Frankfurt, West Germany (4/26/72)] - 12:09
13. Playing In the Band [Lyeum Theatre, London, England (5/24/72)] - 11:55

Disc 2:
1. Dark Star [Bickershaw Festival, Wigan, England (5/7/72)] - 19:49
2. Drums [Bickershaw Festival, Wigan, England (5/7/72)] - 2:24
3. The Other One [Bickershaw Festival, Wigan, England (5/7/72)] - 30:27
4. Sing Me Back Home [Lyceum Theatre, London, England (5/26/72)] - 11:00
5. Not Fade Away [Wembley Empire Pool, London, England (4/7/72)] - 4:23
6. Goin' Down the Road Feeling Bad [Wembley Empire Pool, London, England (4/7/72)] - 6:09
7. Not Fade Away [Wembley Empire Pool, London, England (4/7/72)] - 2:45

Art-Nr.: 7558
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 19,90

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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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Hoge, Will - small town dreams [2015]
Neues Werk von Will Hoge! Baumstarker Roots-/Americana-Rock mit einem Schuß Country-, Heartland- und Southern-Feeling. Dieser Mann gibt einfach weiter Gas! Auch bei seinem mittlerweile 9. Studiowerk ''Smal Town Dreams'' (seinem zweiten bei Thirty Tigers Records) hält der Songwriter aus Nashville das fast schon beängstigend hohe Niveau seiner Voralben. Ja, man hat den Eindruck, dass die Ideen, seit seinem schweren Unfall, den er vor Jahren im Vorfeld zu den Aufnahmen von ''The Wreckage'' erlitten hatte und nur knapp dem Tode von der Schippe gesprungen war, nur so weiter aus ihm heraussprudeln. Produziert hat diesmal der Musiker, Songwriter und Produzent Marshall Altman (Eric Paslay, Frankie Ballard, Marc Broussard, Amy Grant), der in allen relevanten Bereichen ebenfalls stark mitmischt und ein tolles Team mit Hoge und den Restmusikern bildet. Den Einstieg wählte Will diesmal mit einer typischen Kleinstadt-Hommage. Der Song kommt im flockigen Stil der einstigen Tom Petty-''Into The Great Wide Open''-Zeit, durch die hervorragenden Nashville-Musiker (wie u. a. Tom Bukovac, Rob McNelly, Shannon Forrest, Jeff Roach, Tony Lucino) aber in ein zeitgemäßes Soundgefüge gebracht. Hitverdächtig! Mit ''They Don't Make 'Em Like They Used To'' folgt eine am Ende immense Intensität aufnehmende Powerballade. Jeff Roach leistet hier an den Tasten (Piano, Electric Piano, Orgel) Prachtarbeit und entwickelt sich im Verlauf neben Hoge zu heimlichen Star der CD. So ganz sind die zur Zeit in Nashville angesagten poppigen 'Oh-oh-oh'- Harmonie-Gesänge auch an Will nicht vorübergegangen. Das rhythmische und sehr leicht ins Ohr fließende, absolut radiotaugliche "Better Than You'! (klirrende Mandolinenklänge von Jason Mowery), bleibt in der Hinsicht aber die einzige Ausnahme. Mit ''Little Bitty Dreams'' liefert der sich im Booklet mit neuem frischen Kurzhaarschnitt präsentierende Künstler eine schöne, entspannte atmosphärisch Roots-Ballade (relaxtes E-Gitarren-Solo von Rob McNelly). Die Frage 'Outlaw oder Rockstar' ist die beherrschende Thematik von ''Guitar Or A Gun''. Ein toller fast dramatisch anmutender, genauso fetziger wie melodischer Rootsrocker mit dezentem Outlaw-Flair und starken E-Gitarren. Hoge hat sich Gott sei Dank zu unser aller Freude für die erste Option entschiedenen. Die aktuelle Single, das großartige ''Middle Of America'', typisch amerikanisch mit patriotischem Flair durchzogen (Will macht das aber in Maßen), verläuft in der Tradition großer US-Songwriter vom Kaliber Bruce Springsteen oder Bob Seger & Co. Ein toller Stimmungsmacher für seine Konzerte. Schöne Harmoniegesänge übrigens von Jessi Alexander, die das Lied mit kreiert hat. Mit '"All I Want Is You Tonight'' und dem sensationellen ''Just Up The Road'' liefert der Musiker aus Nashville zwei fantastische, kraftvolle Balladen ab, vollgepackt mit kleinen instrumentellen Delikatessen (u. a. herrliches E-Piano von Roach, wunderbarer Gastauftritt bei Zweitgenanntem durch Vince Gill mit Harmoniegesang und erstklassigem E-Gitarren-Gitarren-Solo). Bei ''Desperate Times'' schien Will der alten Zeiten mit Kumpel Dan Baird zu gedenken. Ein launiger Southern Rocker in bester Georgia Satellites-Manier und Billy Powell-Gedächtnis-Honky Tonk-Pianogeklimper durch den erneut furios aufspielenden Jeff Roach. Der Song geht durch Mark und Bein! Das wieder sehr cool und relaxte ''The Next Thing I Needed“ dient zum Durchatmen. Klasse hier die eingeflochtenen Slidefills von McNelly. Den krönenden Abschluss bildet ''Til I Do It Again'', ein kochender, abgehender Rootsrocker mit einer dezent unterschwelligen CCR-Note. Hoge mitsamt seiner Musikerschar gibt nochmal richtig Gas. Ein super Finale eines super Albums! Will Hoge beweist mit seinem 9. Longplayer ''Small Town Dreams“, dass sein Name in in vorderster Reihe stehen muss, wenn um die wichtigsten US-Songwriter/Musiker in Sachen zeitgenössischer Roots-/(Country-)Rock-/Americana-Musik debattiert wird. Schöne zum Thema des Titels passende DigiPak-Gestaltung mit integriertem Steckbooklet mit allen lohnenswert zu verfolgenden Texten. Einfach große Klasse! (Daniel Daus)

Das komplette Tracklisting:

1. Growing up Around Here - 3.48
2. They Don't Make ' Em Like They Used To - 4.02
3. Better Than You - 3.29
4. Little Bitty Dreams - 4.20
5. Guitar or a Gun - 4.00
6. Middle of America - 3.21
7. All I Want Is Us Tonight - 2.53
8. Just up the Road - 3.57
9. Desperate Times - 3.33
10. The Last Thing I Need - 3.47
11. Til I Do It Again - 3.24

Art-Nr.: 8827
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
Growing up around here
They don't meke 'em like they used to
Little bitty dreams
Guitar or a gun
Middle of America
Just up the road
Til I do it again

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