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Bluhm, Tim - sorta surviving [2019]
Außergewöhlich starkes, hinreißend schönes, mit durchweg großartigen Songs bestücktes Retro Countryalbum von Tim Bluhm. Bluhm ist Mitbegründer, Kopf und Frontmann der kultigen, in San Fancisco ansässigen, sowohl in der Rootsrock-, als auch in der Jamrock-Szene hoch geschätzten The Mother Hips, die mit ihrer fluffigen Bay Area Rock-Brise eher näher dem Terrain von Grateful Dead oder Buffalo Springfield angesiedelt sind, als dem der Countrymusic. Doch Bluhm ist auch ein beinharter Country-Fan. Als The Mother Hips vor rund 25 Jahren ihr Debutalbum für Rick Rubin's "American"-Label einspielten, hatte dieses Label gerade Johnny Cash's erstes, von Rick Rubin produziertes, in den berühmten Cash Cabin Studios von Hendersonville/TN aufgenommenes "Amerivcan Recordings"-Album herausgebracht. Zu dieser Zeit entdeckte Bluhm auch Merle Haggard's Musik für sich und befand sich darüber hinaus in regem, fachmännischem Austausch mit Johnny Cash, für den The Mother Hips schließlich als Opener im Fillmore von San Francisco auftraten. Jetzt, nach all den Jahren, hat sich Bluhm seinen großen Traum erfüllt und dieses bärenstarke Countryalbum eingespielt, und das ebenfalls in den legendären Cash Cabin Studios von Hendersonville, übrigens auch mit zwei alten Johnny Cash-Sidemen an Bord, nämlich Dave Roe am Bass und Gene Chrisman an den Drums. Weitere hochkarätige Mitstreiter sind Jesse Aycock (Hard Working Americans) an der Gitarre, Jason Crosby (Dave Matthews, Eric Clapton) an den Keyboards und der Fiddle, Doug Jernigan an der Pedal Steel und Elizabeth Cook wit prächtigem Background Gesang. Ja, Instrumente wie Piano (wundervolles Saloon- und Honky Tonk-Piano), herrliche Pedal Steel Guitar und feine elektrisch und akustische Gitarren, im Einklang mit Bluhm's für diese Musik wie geschaffene, hervorragende Stimme, und vollendeten Songharmonien, bestimmen das Geschehen. Obwohl in Tennessee eingespielt, so fließt durch diese Countrysongs doch eine wunderbare, californische Leichtigkeit. Alles klingt total entspannt, locker und kommt in einem hinreißenden Retro Hippie-Flair. Enthält neben Bluhm's fantastischen Eigenkompositionen auch großartige Coverversionen von Jonny Cash's "I still miss someone" und Merle Haggard's "Kern river". Purer Retro-Country, vollkommen authentisch und ohne Schnörkel, aus einer Zeit, die längst vergessen schien. Toll! Produziert hat übrigens Widespread Panic's Dave Schools - und das vom Allerfeinsten. Ein absolutes, reines Genre Pracht-Werk!

Aus der Original-Produktbeschreibung:

For a moment, you could almost forget what year it was inside the Cash Cabin, the small sanctuary-turned-recording-studio Johnny Cash built roughly 40 years ago in Hendersonville, TN. The Man In Black's frequent collaborators Dave Roe and Gene Chrisman were back at the bass and drums respectively, and tape was rolling as they counted in the Cash classic "I Still Miss Someone." Tim Bluhm had to pinch himself. "Recording in that space with those guys was like a dream come true for me," says Bluhm. "The depth of knowledge they walk around with in their heads is amazing, and you know you can trust the musical choices they're making because they have the experience to back it up. When they say, 'This is what Merle would have done,' it's because they know firsthand." While Bluhm may be best known for the breezy brand of West Coast roots and soul he helped pioneer with his band, The Mother Hips, his brilliant new solo album, Sorta Surviving, revels in his longtime love for classic country music. Recorded and mixed at the Cash Cabin under the guidance of Widespread Panic's Dave Schools, the collection is earnestly authentic and utterly timeless, and it finds Bluhm backed by elder statesmen like Roe and Chrisman along with younger virtuosos like keyboardist Jason Crosby (Eric Clapton, Dave Matthews) and Jesse Aycock (Hard Working Americans, Elizabeth Cook). "The band brought a certain maturity and experience," explains Schools. "Tim's songwriting is so strong that it naturally suggests how to complement itself, but those guys really know how to play and still leave room for a great singer." Indeed, the arrangements on the album are refined and elegant, yet still stripped-down and raw, enabling Bluhm's warm, easygoing vocals to sit front-and-center as he weaves vivid tales of ordinary men and women facing down hard days and even harder nights. Mixing new originals and reimagined covers, the record pulls from a half-century of American music to craft a thoroughly modern love letter to a bygone era, one that showcases both Bluhm's deft musical hand and his heartfelt reverence for the genre. "I've been a fan of classic country ever since I heard Merle Haggard sing," reflects Bluhm. "I just admired his voice and storytelling so much, but I never made an album like this before because I figured it would take me at least 20 or 30 years to get good enough." Bluhm discovered Haggard around the same time he co-founded the now-iconic Mother Hips, a band the San Francisco Chronicle has hailed as "one of the Bay Area's most beloved live outfits." The group began it's journey at Chico State, where performing at frat parties quickly gave way to club shows, regional touring, and national buzz, and before Bluhm and his bandmates had even graduated, they were already signed to Rick Rubin's American Recordings on the strength of their debut album, 'Back To The Grotto.' "When we signed with American, the label had just put out Johnny Cash's first Rick Rubin-produced album, which was actually recorded at the Cash Cabin," says Bluhm. "I got to meet and hang with Johnny a couple times back then, and after that, we opened for him at The Fillmore in San Francisco. I was so impressed with his presence. He definitely lived up to his legend in real life, and he made a big impression on me." Over the ensuing two-and-a-half decades, the Hips would release nine more studio albums as they cemented their status as festival and critical favorites, sharing bills with everyone from Wilco and Widespread Panic to Lucinda Williams and The Black Crowes along the way. Rolling Stone called them "divinely inspired," while Pitchfork praised their "rootsy mix of 70s rock and power pop," and The New Yorker lauded their ability to "sing it sweet and play it dirty." Ever-curious and wildly prolific, Bluhm simultaneously released a slew of his own solo and collaborative projects on the side. He toured for years as music director with Nicki Bluhm & The Gramblers, teamed up with The Grateful Dead's Mickey Hart and Bill Kreutzmann among others, and opened up Mission Bells Studio with fellow California favorite Jackie Greene and engineer Dave Simon-Baker. There, Bluhm produced albums for everyone from the Hips and Greene to Hot Buttered Rum and Little Wings in addition to hosting Phil Lesh, Josh Ritter, Rogue Wave, Los Lobos, Jonathan Richman, and more. As if that wasn't enough to keep him busy, in 2007, Bluhm and the Hips launched the Hipnic, an intimate and immaculately-curated music festival that's still held annually amongst the towering redwoods of Big Sur. Sorta Surviving marks Bluhm's first collection recorded outside of California, but one listen and it's clear that he's equally at home in the pines of Tennessee. There's a comfort to the performances, a subtle familiarity that radiates out like a warm invitation. "Most of the songs on this album are second or third takes," says Schools. "That comes from experience and teamwork, but also from working in a great environment. It's a palpable thing you feel when you're working in the room where Johnny Cash wrote his autobiography and recorded some of the best work of his later years. We were definitely all a little nervous meeting for the first time, but we got comfortable real quick there." The songs are character-driven, valuing the visceral over the cerebral, and Bluhm inhabits his narrators with a voice as tough and as pliable as worn-in leather. "It just felt natural for me to sing this way," he explains. "It was a chance to put away the books and focus more on the everyday rather than the existential, a chance to pull out the guitar and really tell some stories." Some of those stories come secondhand: the bluesy "Del Rio Dan" was first popularized by The Everly Brothers in the 1970's, while the waltzing "Kern River" is a Merle Haggard favorite, and Johnny Cash's "I Still Miss Someone" gets a melancholy makeover with a tip of the cap to Neil Young's timeless take on "Oh Lonesome Me." That the covers fit so seamlessly alongside Bluhm's original material stands as a testament both to his gifts as a compelling storyteller and his playful way with words. The shuffling "Jesus Save A Singer" tackles struggle and redemption with a wry smile, while the stream-of-consciousness title track sardonically examines our instinct to perpetually press on, and the honky-tonking "Where I Parked My Mind" finds dark wit even in the depths of addiction. "There's more humor in these songs than anything else I've written before," says Bluhm, "but it's all very tongue in cheek. That's a country music tradition." While tradition guided Bluhm throughout the project, he wasn't beholden to it, frequently taking risks and pushing boundaries with his performances and arrangements. In the end, his goal wasn't just to make a country-tinged record, but rather to craft narratives that could truly transport his listeners, that could breathe new life into stories forgotten and stories imagined, tales of dustbowl farmers and oil men and fugitive outlaws and traveling singers. "As a kid growing up in LA, I never even heard of country music," reflects Bluhm, "but I remember flipping around the radio dial and coming across 'The Gambler.' It was a song that just completely transcended genre. It was no more 'country' than Mark Twain was 'country.' It was a simple, timeless story set to music, and that's what I've ultimately aspired to make myself."

Das komplette Tracklisting:

1. Jesus Save A Singer - 3:08
2. No Way To Steer - 3:11
3. Jimmy West - 3:44
4. Where I Parked My Mind - 3:28
5. Raining Gravel - 3:46
6. Sorta Surviving - 3:15
7. Del Rio Dan - 4:24
8. I Still Miss Someone - 3:15
9. Squeaky Wheel - 3:55
10. Kern River - 3:05

Art-Nr.: 9792
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
Jesus save a singer
No way to steer
Jimmy West
Where I parked my mind
Sorta surviving
Squeaky wheel
Kern river

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Chambers, Sean - trouble & whiskey [2017]
Fetter Bluesrock-Gitarrenzauber pur! 4 lange Jahre hat es gedauert, bis der famose, ehemalige Gitarrist des legendären Hubert Sumlin mit dem Nachfolegwerk zum bärenstarken 2013er-Release "The Rock House Sessions" auf den Markt kommt, doch das Warten hat sich gelohnt. Die Bluesrock-Welt und auch die Gitarren-Enthusiasten werden begeistert sein. "Trouble & whiskey" steht seinem Vorgänger in nichts nach. Was Sean Chambers und seine Mitstreiter (großartige Quartett-Besetzung) hier abliefern, ist zündender, von mitreissendem Gitarrenspiel geprägter, kraftvoller, satter Bluesrock vom Allerfeisten. Nicht umsonst kürte das renommierte britische "Guitarist Magazine" den Saitenhexer aus Fort Myers/Florida unlängst als einen der "Top 50 blues guitarists of the last cenmtury". Chambers kann es locker mit allen Größen des Genres aufnehmen, von Johnny Winter bis Stevie Ray Vaughan. Er ist nicht nur ein begnadeter Gitarrist, sondern auch ein klasse Sänger. Das Album punktet mit durch und durch hervorragend strukturiertem Songmaterial, bietet aber zudem immer genügend Freiraum für Chambers, seine außergewöhnlichen Gitarrenkünste unter Beweis zu stellen. Seine Soli (auch Slide) sind stets ungemein zielgerichtet und gleichzeitig voll ungebremster Spielfreude in den Songs untergebracht - glühende, teils schön ausgedehnte Läufe voller Virtuosität, immer schön erdig, dreckig, rau und herrlich unbekümmert, und dennoch, ohne übermütiges "Gefrickel" auf den Punkt gebracht. Er macht das fantastisch. Das Album startet mit dem von kochenden Riffs durchzogenen, klassischen Gitarren-Bluesrocker "I need your lovin'", der sich unbeirrt straight und dreckig im Bewusstsein des Zuhörers festsetzt. Robert Johnson meets ZZ Top! Klasse Groove! Und die ersten beiden Soli des Meisters hinterlassen unmittelbar einen tiefen Eindruck. Was für ein starker Auftakt. Beim folgenden "Bottle keeps staring at me" demonstriert Chambers auf beeindruckende Art und Weise seine Slide-Künste. Ein Slideguitar-rockin' Blues der Extraklasse mit Reminiszensen an George Thorogood und Konsorten. Welch ein Feuer! Packende Lead Gitarren-Läufe begleiten den famosen, voller Energie steckenden, "drinkin'" Slow Blues "Trouble & whiskey", der den Zuhörer mit seiner Direktheit, der herausragenden Instrumentierung aus Lead Gitarre und schöner Orgel-Untermalung, sowie seiner großartigen Melodie geradezu magisch einfängt. Die beiden virtuosen, schön satten, fingerfertigen Gitarrenausflüge begeistern auf der ganzen Linie. Hat ein schönes, dezentes Southern-Flair. Grandios auch das dezent funky wirkende, dennoch lockere "Cut off my right arm", der klassische, mächtig groovende, voller satter Gitarrensoli steckende Bluesrocker "Handyman" (an der zweiten Lead Gitarre hören wir hier als Gast den ebenfalls fantastisch aufspielenden Jimmy Bennett), oder das finale, rhythmische "Gonna groove", bei dem der Songtitel Programm ist. Zudem brennt Chambers bei der glühenden Vollgas-Coverversion von Rory Gallagher's "Bullfrog Blues" ein fulminantes Slide-Feuerwerk ab. Was Sean Chambers und seine großartige Band hier auch anpacken, der Funke springt unmittelbar über. Ein prachtvolles Gitarren Bluesrock-Werk, das die Genre-Enthusiasten von vorn bis hinten begeistern dürfte.

Das komplette Tracklisting:

1. I Need Your Lovin' - 3:40
2. Bottle Keeps Staring at Me - 4:05
3. Trouble & Whiskey - 5:06
4. Travelin' North - 3:40
5. Cut off My Right Arm - 4:45
6. Bullfrog Blues - 4:31
7. Sweeter Than a Honey Bee - 4:23
8. Handyman - 5:53
9. Be Careful with a Fool - 4:53
10. Gonna Groove - 3:15

Art-Nr.: 9410
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

In folgende Titel können Sie reinhören:
I need your lovin'
Bottle keeps staring at me
Trouble & whiskey
Cut off my right arm
Sweeter than a honey bee
Handyman
Gonna groove

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Daniels Band, Charlie - off the grid: doin' it dylan [2014]
Der außenstehende Musikhörer wird sich vermutlich verwunderlich die Nase rümpfen. Waffennarr und Irakkriegsbefürworter Charlie Daniels versucht sich an Bob Dylan-Songs! Also an Liedern des Mannes, der eigentlich in Musikkreisen als Synonym für die große Protest-, Friedes- und Emanzipationsbewegung der Siebziger-Generation gilt. Man könnte meinen, das wäre fast so ähnlich, wie wenn George W. Bush ein Hörbuch mit Gedichten von Fidel Castro besprechen würde. Aber weit gefehlt.Bei näherem Hinsehen haben die beiden alten Recken doch einiges an Gemeinsamkeiten aufzuweisen. Was viele vielleicht nicht wissen, ist, dass Charlie zu Beginn seiner Musikerkarriere auf drei Alben von Dylan als Studiomusiker den Bass betätigte - das auf dieser CD auch vertretene "Country Pie" (hier als toller Countryfeger im typischen CDB-Stil, der seinem Titel alle Ehre macht) ist von Dylans "Nashville Skyline"-Werk, mit dem Bob sich seiner Zeit auch dem Countrygenre ein wenig nähern wollte. Beide sind ja auch glühende Vertreter des Erzählgesangs. So ist es für Daniels auch ein Leichtes, sich in die Tracks, die ja teilweise 50 Jahre auf dem Buckel haben, hineinzufinden. Sicherlich ist auch der Respekt vor der großen Leistung des Anderen eines der Hauptmotive dieses Projekts. Schon nach wenigen Momenten des herrlichen Openers "Tangled Up In Blue" (Dobro, Fiddle, Honky Tonk Piano-Solo) wird einem die Hingabe klar, mit der Daniels und seine starken Mitmusiker (Pat McDonald, Charlie Hayward, Bruce Brown, Chris Wormer, Shannon Wickline und Casey Wood) an die Sache herangingen. Mit "Off The Grid" ist hier übrigens gemeint, dass es sich um ein rein akustisch eingespieltes Album handelt. Aufgrund der herrlich klar herausgearbeiteten Instrumentalleistungen und der ungemeinen Spielfreude der Beteiligten hat das Album jedoch einen wunderbar kraftvollen Schwung, so dass zu keiner Zeit Momente von Monotonie oder Langeweile aufkommen. Im Prinzip hat man das Gefühl mit auf der großen Terasse von Charlies Farm zu sitzen. Im Hintergrund bruzzeln die fetten Steaks und in der Icebox ist für genügend kaltem Biernachschub gesorgt. Der gute Tennessee-Whiskey steht natürlich auch auf dem Tisch. Dazu musizieren die Herren mit den countrytypischen Instrumenten wie Fiddle, Dobo, Akustikgitarren, Mandolinen, Mundharmonika, etc., ergänzen sich und solieren nach Herzenslust, dass es eine reine Freude ist. Stellvertretend hierfür sei besonders das Mundharmonika-trächtige "I’ll Be You Baby Tonight" genannt, das wirklich dieses unnachahmliche Frontporch-Feeling perfekt rüberbringt. Grandios auch, wie z. B. Fiddle und Mandoline ein keltisch anmutendes Folk-Ambiente bei "Times They Are A Changin’" erzeugen. Traumhaft der funkige Groove (pumpender Bass, starke Percussion, tolles Akustikgitarrensolo, Harmoniegesänge), den die Musiker bei "You Gotta Serve Somebody" loslassen. Einfach großartig. "I Shall Be Released" wird von einem gediegenen "Sweet Melissa"-Flair begleitet (dazu eine herrlich quäkende Südstaaten-Mundharmonika). Das locker fröhliche "Mr. Tambourine Man", das seiner Zeit den Byrds zu Hit und Ruhm verhalf, wird hier von einer klirrenden, folkigen Mandoline getragen. "Hard Rain’s A Gonna Fall" zeigt, dass man auch mit rein akustischen Instrumenten eine dezente psychedelische Atmosphäre erzeugen kann, wenn nur die richtigen Musiker Hand anlegen. Das abschließende "Quinn The Eskimo (The Mighty Quinn)" serviert die Charlie Daniels Band als herrlichen Bluegrass-Cocktail, wobei der Hauptprotagonist nochmals ordentlich seine berühme Fiddle quietschen lässt. Ein fröhlicher Rausschmeißer zum Finale. Mit "Off The Grid - Doin’ It Dylan" huldigt der mittlerweile 77-jährige (!) Charlie Daniels, der sich erst kürzlich von einem leichten Schlaganfall erholt hat, eine der zu Recht mit am meisten gecoverten Musikergrößen unserer Zeit. Ein Paradebeispiel dafür, wie schön Musik auch unter kontroversest anmutenden Bedingungen verbinden kann. Robert Zimmerman alias Bob Dylan wird dieses Werk voller aufrichtiger musikalischer Zuneigung und sicherlich mit Stolz zur Kenntnis nehmen. Klasse! (Daniel Daus)

Tracklisting:

1 Tangled up in blue   4:15
2 Times they are a changin   3:23
3 I´ll be your baby tonight   3:24
4 Gotta serve somebody   5:31
5 I shall be released   4:32
6 Country pie   2:19
7 Mr. Tambourine man   4:31
8 Hard rain´s a gonna fall   4:18
9 Just like a woman   4:24
10 Quinn the eskimo (The Mighty Quinn) 3:44

Art-Nr.: 8513
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 15,90

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Dickinson, James Luther And North Mississippi Allstars - i'm just dead i'm not gone [2012]
Klasse Live-Scheibe des am 15. August 2009 verstorbenen, kultigen "Memphis-Producers" und Bluesmusikers James Luther "Jim" Dickinson. Die Aufnahmen stammen aus einem Konzert aus dem New Daisy Theater in der berühmten Beale Street von Memphis/Tennesse, als Dickinson von der großartigen Band seiner beiden Söhne Luther und Cody Dickinson, den North Mississippi Allstars begleitet wurde. Was die "Familie" spielte war großartiger, erdiger, dreckiger Memphis- und Hill Country-Blues im typischen Stil der North Mississippi Allstars, incl. prächtiger Slide Gitarrenarbeit (großartige Soli) von Luther.

Aus der Original-Produktbeschreibung:
Despite Memphis music enigma Jim Dickinson's long, winding, illustrious, and infamous musical career as a musician and producer, he never released a live album. Until now that is. I'm Just Dead, I'm Not Gone fills that gap in his catalog. Recorded in 2006 at the New Daisy Theater on Beale Street in Memphis, the album pairs the music legend on piano and lead vocals with his kids' band, the North Mississippi Allstars (Luther Dickinson, guitar; Cody Dickinson, drums; Chris Chew, bass), and special guest Jimmy Davis on rhythm guitar and backing vocals in a riotous set of blues, R&B, and country covers played at maximum speed and volume. It was all captured in the moment -- without further window dressing -- by Kevin Houston. From the elder Dickinson's poignantly surreal poem that opens Sir Mack Rice's "Money Talks" (in which, at 90 mph, he discusses everything from prayer, George W. Bush, honey, bad whiskey, and money), the proceedings are off to an uproarious start. It's raw and non-stop. While everything here works exactly as it should, there are some real standouts. The snaky blues cover of Buffy Sainte Marie's "Codine" is among the most original readings of the tune ever, with ghostly piano and Luther's deep blues lead guitar. The rocked-up party blues in Furry Lewis' "Kassie Jones" is another. Things get country-fried on Bob Frank's "Red Neck, Blue Collar" and Terry Fell's anthem "Truck Drivin' Man." Closer "Down in Mississippi" features a smoking extended guitar break by Luther, who shines throughout. But the real star is the man the album is named after. His command of the proceedings is no less authoritative than Jerry Lee Lewis' and just as unhinged as Charlie Feathers'. A cursory listen will offer the mistaken impression that this is a glorified bar gig. That said, a slightly deeper one will yield proof of Dickinson's prophetic, historical genius: in his persona and practice, he embodies the crossroads of all American roots song forms, from folk and blues to R&B and rock. His advice for his sons -- ...It's okay to rush, but don't drag..." -- is proven here time and again. At a shade over 42 minutes, I'm Just Dead, I'm Not Gone is a concise yet fully fleshed, sweaty, grimy, gritty exercise in everything that is truly great about rock & roll.

Die komplette Tracklist:

1 Money Talks - 5:35
2 Ax Sweet Mama - 3:55
3 Codine - 6:28
4 Red Neck, Blue Collar - 4:47
5 Kassie Jones, Pt. 1 - 4:55
6 Rooster Blues - 3:05
7 Never Make Your Move Too Soon - 4:01
8 Truck Drivin' Man - 4:24
9 Down In Mississippi - 5:33

Art-Nr.: 7848
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

In folgende Titel können Sie reinhören:
Money talks
Codine
Kassie Jones
Never make your move too soon
Truck drivin' man
Down in Mississippi

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Evans, Morgan - things that we drink to [2018]
Klasse U.S.-Debut des Australiers Morgan Evans, der drauf und dran ist in Nashville richtig Fuß zu fassen. Evans, in übrigen verheiratet mit der immens erfolgreichen Kelsea Ballerini, spielt eine überaus gefällige und voller Hitpotential steckende Mischung aus lockeren, gut zu verarbeitenden und sehr melodischen, mal dynamischen, mal langsameren Songs an der Schnittstelle zwischen New Country und Countrypop, die geradezu darauf warten die Charts zu stürmen. Enthält seinen ersten Nr.1-Hit, das flotte "Kiss somebody," und den neuen Hit "Day drunk". Natürlich darf auch ein Duett mit seiner Liebsten, Kelsea Ballerini, nicht fehlen ("Dance with me").

Hier ein Original U.K.-Review:

Morgan Evans captured the hearts of the UK when he released his lead single Kiss Somebody. With just a handful of songs out, Morgan has continued to build his UK fanbase with a couple of trips here including playing C2C Festival. Although we don’t often like to focus on an artists craft through their significant other, we can’t not mention Evan’s wife Kelsea Ballerini when she is so clearly the muse of most of his songs.
Morgan’s debut album Things That We Drink To starts with the song American, Evan’s seems to be describing his wife;
She’s got hair as gold as Kansas Wheat, her body moves like bourbon street in New Orleans, so wild and free She’s American, making my life better than it’s ever been.
American is a great start to the album and has that earlier Keith Urban style to it. This album is actually so much better than I thought it would be. With the title being Things That We Drink To I was somewhat afraid it was going to be a bunch of typical bro – country songs that sound just like all the other artists out there who sing about beer, trucks, dirt roads and women in little tight blue jeans or something. But this album has a lot more depth to it.
A lot of the songs are not just radio friendly but arena friendly and are definitely of the standard where you can imagine a huge arena concert and the music bouncing off the arena walls and everyone singing along.
Songs such as I Do are more mid tempo and in I Do’s case, is a love letter to his wife and well lets face it, us country fans are suckers for a real life country music love story.
Song for the Summer lost me a bit. I think it will prove popular amongst a lot of fans as has a great dance beat to it but it isn’t for me. It has an element of Sam Hunt in it and although I quite like Hunt, I just can’t seem to get into it.
Day Drunk which was another single is a great summer anthem song but again, neither here nor there for me sadly.
Kelsea Ballerini joins Morgan for Dance With Me for a stunning ballad. This is a gorgeous romantic country song as it should be. There is beauty in its simplicity and it isn’t over produced. The words are of course believable as they are true. Kelsea may not like love songs but Morgan clearly does and we are so glad about that or we wouldn’t have this song. I would be very surprised if this doesn’t get released as a single.
Me on You has a bit of an R&B element to it. It has a sweet guitar riff throughout and a nice beat to it. Although I am not keen on the clubby dance element to country music, this song can easily have that vibe but would also be amazing stripped back.
The title track Things That We Drink To, is thankfully not your typical drinking song but a breathtaking dedication to a friend of Morgans, his late manager who sadly passed. (More on that can be found here. ) This song has a strong anthem feel to it and its down tempo stylings are really quite infectious especially in the piano accompaniment. The emotion in Morgan’s vocals, lyrics and music is honest and quite deep. I like a song with meaning, a song where you can actually feel where the artist is coming from and what they a feeling on some level. The subject was obviously someone very dear to Morgan and the song is both happy and sad at the same time with the feeling of loss but also great memories and celebration of friendship. I think the songs music and words encompasses all of that and I would certainly drink to that.
We Dream is about those childhood dreams and childhood freedom. It is a good song but might be one that takes me a while. I sadly feel the same way about Everything Changes. Both aren’t bad tracks but may take a listen or two.
Young Again is a great song to close the album on. It has a Folk music way about it and is like an Irish drinking song and I enjoy those type of drinking songs as they feel a lot more happy and are the kind of songs that bring unity. I can see this song being one of those live songs that make people in the crowd all sway arm and arm whilst of course, raising glasses.
Overall this is a quality, celebratory album that certainly has that “Let’s raise our glasses” feel to it. Things That We Drink To has a lot of fun and thoroughly enjoyable songs.
There is a really bright future for Morgan Evans and he is definitely on his way up to being one of the big names and I am actually really excited about it. If he continues to deliver music similar to what he has now then I am more than happy for him to sit up there on the top of the charts. (Hnnah Jessica / Building Our Own Nashville)

Das komplette Tracklisting:

1. American - 3:03
2. Kiss Somebody - 3:33
3. I Do - 3:30
4. Song for the Summer - 3:32
5. Day Drunk - 3:14
6. Dance with Me (feat. Kelsea Ballerini) - 3:19
7. Me on You - 3:26
8. Things That We Drink To - 3:08
9. We Dream - 3:36
10. Everything Changes - 3:17
11. Young Again - 2:55

Art-Nr.: 9740
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 13,90

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

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

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

Das komplette Tracklisting:

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

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

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Garcia Band, Jerry - garcia live vol. 13: 09/16/1989, poplar creek music theatre [2020]
2 CD-Set! Teil 13 der so geschätzten und beliebten GarciaLive-Reihe aus den schier endlosen Archiven des charismatischen Grateful Dead-Gitarristen Jerry Garcia ist da. Die neue Ausgabe beleuchtet die legendäre '89iger Tour der Jerry Garcia Band, und zwar mit der erstmaligen Veröffentlichung ihres fantastischen Konzertes vom 16. September 1989 im Poplar Creek Music Theatre von Chicago. Die begnadete Band Garcia's mit John Kahn, David Kemper, Melvin Seals, Gloria Jones, and Jacklyn LaBranch, wurde bei einigen Gigs dieser Tour durch einen großen Namen erweitert, nämlich "the big man himself", Clarence Clemons von Bruce Springsteen's E-Street Band am Saxophon. Clemons bereicherte mit seinem famosen Spiel die Jammings und damit den Shows in unnachahmlicher Art und Weise. Diese Garcia-Shows mit ihm, so auch der Auftritt in Chicago, waren etwas ganz Besonderes. Die hervorragende Setlist bestand aus damit sehr raren Versionen vieler Garcia/Hunter-Standards, wie "Cats under the stars" oder "They love each other", aber auch höchst interessanten Covers wie beispielsweise Dylan's "I shall be released", The Beatles' "Dear Prudence", The Band's "The night they drove old dixie down" und vor allem einer raren, jammigen 10 Minuten-Fassung des Rolling Stones-Klassikers "Let's spend the night together". Diese Veröffentlichung ist erneut ein echtes Highlight für Deadheads und Gacia-Fans.

Hier die Original-Produktbeschreibung durch "Garcia Family Provisions":

It’s with great pleasure we share news of the next installment in the GarciaLive series — GarciaLive Volume 13: September 16th, 1989 Poplar Creek Music Theatre. For some, the number thirteen is filled with superstition, but we can comfortably say GarciaLive Volume 13 will only brighten your doorstep upon release on Friday, April 24th. The new release, like the previously issued Pure Jerry: Merriweather Post Pavilion, September 1 & 2, 1989 and Fall 1989: The Long Island Sound, once again puts a spotlight on the Jerry Garcia Band’s legendary September ’89 run, but with one BIG addition — the Big Man, Clarence Clemons.
Clemons, the tenor saxophone giant from Bruce Springsteen’s E Street Band, joined the tour at the Meadowlands in northern New Jersey after first linking up with Garcia at the Grateful Dead’s New Year’s Eve 1988 performance in Oakland. Though he wasn’t well versed in the JGB’s repertoire at the start, Clarence’s deep knowledge of R&B and rock-n-roll made him a decidedly quick study — and by the time they hit Poplar Creek for the tour closer, they were really rolling! Garcia, already enjoying one of his best latter-day years following his recovery from a near-death experience, was in particularly fine form. His playing dexterous and down-right otherworldly at times. And as Blair Jackson writes in the liner notes, “Clarence is right there with him, bleating and honking and purring and sounding like all his influences—from Maceo Parker and Lee Allen to King Curtis and Junior Walker—rolled into one powerful package that was unmistakably Clarence Clemons. He’s definitely not laying back, and his assertiveness clearly pushes Garcia to play harder and louder and funkier at every turn.” While the setlist is fairly standard for the era, Clemons helps the band find new heights on old staples like The Band’s “The Night They Drove Old Dixie Down,” The Beatles’ “Dear Prudence” and a pair of Garcia/Hunter originals, “Cats Under The Stars” and “They Love Each Other.” One relative rarity of note is a positively blistering take on The Rolling Stones’ romp “Let’s Spend The Night Together”, dusted off earlier in the year after having been absent since ’76, which closes set one spectacularly. Top to bottom, this one is filled with magic — and we’re delighted to share it with you.

Die komplette Setlist:

Disc 1:
1. Cats Under the Stars - 9:32
2. They Love Each Other - 8:26
3. Let It Rock - 8:59
4. I Shall Be Released - 9:53
5. Someday Baby - 8:17
6. Dear Prudence - 11:05
7. Let's Spend the Night Together - 10:39

Disc 2:
1. How Sweet It Is (To Be Loved By You) - 7:55
2. Knockin' on Heaven's Door - 11:45
3. Think - 9:45
4. Waiting for a Miracle - 7:03
5. Evangeline - 5:51
6. The Night They Drove Old Dixie Down - 10:34
7. Tangled Up in Blue - 12:22

Art-Nr.: 10043
Gruppe: Musik || Sparte: Rock
Status: Neuheit || Typ: CD || Preis: € 17,90

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Garcia Band, Jerry - garcia live vol. 2: august 5th 1990, greek theatre [2013]
2 CD-Set! Zweiter Teil der neuen GarciaLive-Serie! Enthalten ist ein wunderbares Konzert vom 5. August 1990 aus dem Greek Theatre in Berkeley/California mit dem "Classic Line-Up" der Jerry Garcia Band. Gast bei den ersten beiden Stücken des zweiten Sets ist Banjo-Virtuose Bela Fleck! Die Setlist ist voll mit spannenden Coverversionen, wie etwa Bob Dylan's "Tangled up in blue", Los Lobos' "Evangeline", Bob Marley's "Stop that train", Van Morrison's "And it stoned me", Little Milton's "That's what love will make you do", "Tears of rage" von The Band, und viele mehr. Großartig!

Aus der Original-Produktbeschreibung:
GarciaLive Volume Two captures the classic latter-era lineup of the Jerry Garcia Band in the very familiar surroundings of the Greek Theatre in Berkeley, CA. Recorded during a fruitful period for the band, which has resulted in two previous releases (Jerry Garcia Band and How Sweet It Is), this show features a guest appearance by acclaimed banjo player Bela Fleck to kick off the second set with a fiery rendition of "Midnight Moonlight" and an otherworldly adventure on the Jimmy Cliff classic, "The Harder They Come."
The Jerry Garcia Band made use of their home turf in 1990, performing throughout the Bay Area an astounding 19 times in that year, including multiple runs at their adopted home of the Warfield Theatre. Jerry and the band, including longtime cohort John Kahn on bass, Melvin Seals on organ and David Kemper on drums, as well as “The Girls,” Jaclyn LaBranch and Gloria Jones on backing vocals, stretched out in the summer sun on this early August afternoon show. Highlights, beside the obvious fireworks created on stage with Fleck, include a lilting “Stop That Train” and a bouncy “My Sisters and Brothers.” But on this day, Garcia clearly had the Bard on his mind, lending his deft touch and heart wrenching vocals to Dylan chestnuts “Forever Young” and “Tears of Rage” before sending the crowd home with a bounce in their step after a mesmerizing “Tangled Up in Blue” show closer. Once again, this performance cements Dylan’s own sentiments that nobody had a touch with his songs quite like Garcia.

Lineup:
Jerry Garcia - Guitar, Vocals
John Kahn - Bass
Melvin Seals - Organ
Jaclyn LaBranch - Vocals
Gloria Jones - Vocals
David Kemper - Drums

Die komplette Setlist:

Disc 1:
1. How Sweet It Is (To Be Loved By You) (7.32)
2. Stop That Train (6.46)
3. Forever Young (7.19)
4. Run For The Roses (5.49)
5. That's What Love Will Make You Do (8.06)
6. My Sisters And Brothers (4.15)
7. Tears Of Rage (8.16)
8. Deal (8.33)

Disc 2:
1. Midnight Moonlight (featuring Béla Fleck) (7.26)
2. The Harder They Come (featuring Béla Fleck) (10.45)
3. And It Stoned Me (6.21)
4. Waiting For A Miracle (6.42)
5. Evangeline (4.21)
6. Think (7.00)
7. That Lucky Old Sun (8.22)
8. Tangled Up In Blue (11.19)

Art-Nr.: 8216
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

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Garcia Band, Jerry, Bob Weir and Rob Wasserman - fall 1989: the long island sound [2013]
6 CD Box-Set! Historisches für die Deadheads und Jerry Garcia-Jünger - alles bislang unveröffentlicht: Die neue 6 CD-Box enthält zwei komplette Konzerte der berühmten Herbsttour, die die Jerry Garcia Band 1989 zusamen mit Grateful Dead-Weggefährte Bob Weir und Rob Wasserman (als Acoustic-Duo) absolvierte. Enthalten sind die Shows vom 5. September 1989 aus dem Hartford Civic Center in Hartfort/CT und vom 6. September 1989 aus demNassau Coliseum in Uniondale/NY. Weir & Wasserman spielten jeweils den Support (CD 1 und CD 4), die Jerry Garcia Band war der Mainact. Die Konzerte und die Setlist sind phänomenal. Über 5 1/2 Stunden Musik! Sehr schön auch das traditionsbewusste Cover, das folgerichtig aus der prominenten "Sranley Mouse"-Schmiede stammt.

Hier die Original-Produktbeschreibung:

Fall 1989: The Long Island Sound - a new 6 CD box set from the Jerry Garcia Band and Bob Weir & Rob Wasserman released on Round Records. This new archival release features two complete performances with over 5 1/2 hours of previously unreleased music from September 5th, 1989 at the Hartford Civic Center in Hartford, CT and September 6th, 1989 at Nassau Coliseum in Uniondale, NY. Fall 1989: The Long Island Sound celebrates the storied East Coast 1989 run which featured acoustic duo Bob Weir and Rob Wasserman setting the stage for two nightly sets from the Jerry Garcia Band.

Fall 1989: The Long Island Sound was recorded by John Cutler to 2-track DAT and mastered by Joe Gastwirt. It's important to note this collection contains audio with apparent, irremediable sonic imperfections (most notably the distortion on Jerry's vocal during "Cats Under The Stars") heard by all who experienced these performances in person or on tape. Despite the limitations in fidelity, the performances presented showcase timeless, transcendent and often blistering moments of pure magic. Listen comfortably with our promise that every effort was made to produce these performances for release in a manner which honors the spirit of its creation.

Cover art by Stanley Mouse. Album package includes liner note essay by Blair Jackson and archival memorabilia from the collection of Steve Parish.

Die kompletten Setlists:

September 5th, 1989
Hartford Civic Center – Hartford, CT

Bob Weir & Rob Wasserman:
Festival,
Fever,
K.C. Moan,
Desolation Row,
Looks Like Rain,
The Winners,
Victim or the Crime -> Wasserman Bass Improvisation no. 1 -> Throwing Stones

Jerry Garcia Band:
Set One
Cats Under the Stars,
They Love Each Other,
Waiting for a Miracle,
Run for the Roses,
Like a Road,
My Sisters and Brothers,
Deal

Set Two
The Harder They Come,
Mission in the Rain,
Forever Young,
Evangeline,
Gomorrah,
Don’t Let Go -> Lonesome and a Long Way From Home

September 6th, 1989
Nassau Coliseum – Uniondale, NY

Bob Weir & Rob Wasserman:
Walking Blues,
City Girls -> Fever, Blackbird -> When I Paint My Masterpiece,
Shade of Grey -> The Winners -> Easy to Slip -> Wasserman Bass Improvisation no. 2,
Heaven Help The Fool

Jerry Garcia Band:
Set One
How Sweet It Is (To Be Loved By You),
Stop That Train,
That’s What Love Will Make You Do,
Mississippi Moon,
I Second That Emotion,
And It Stoned Me,
Deal

Set Two
The Harder They Come,
Dear Prudence,
I Shall Be Released,
Let It Rock,
Evangeline,
That Lucky Old Sun,
Tangled Up in Blue

Art-Nr.: 8418
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 35,90

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Garcia, Jerry - garcia live vol. 3: december 14-15, 1974 northwest tour [2013]
3 CD-Set! Teil 3 der neuen GarciaLive-Reihe - und wieder ist es ein Fest für die Jerry Garcia-Gemeinde und die Deadheads. Mitgeschnitten am 14 Dezember 1974 im Paramount Theatre von Portland/OR und am 15. Dezember 1974 im EMU Ballroom von Eugene/OR, enthält dieses 3 CD-Set über 2 1/2 Stunden bisher unveröffentlichter Konzertaufnahmen von Garcia's vielleicht experimentier- und improvisationsfreudigen, fantastischen Projekt "Legion Of Mary". Tolles Teil!

Legion Of Mary waren:

Jerry Garcia (Grateful Dead, Jerry Garcia Band) - guitar, vocals
Merl Saunders (Miles Davis, B.B. King, Garcia/Saunders) - keyboards, vocals
John Kahn (Jerry Garcia Band. Al Kooper, John Lee Hooker) - bass
Martin Fierro (Zero, James Cotton, Quicksilver Messenger Service) - saxophone
Ron Tutt (Elvis, Neil Diamond, Johnny Cash) - drums

Die offizielle Produktbeschreibung:

GarciaLive Volume Three: December 14-15, 1974 Northwest Tour celebrating one of Jerry’s most experimental, improvisational and revered projects: Legion of Mary. Scheduled for release on October 15, 2013, GarciaLive Volume Three presents highlights from two winter 1974 performances captured during what is thought to be Legion of Mary’s first tour featuring the core lineup of Garcia, Merl Saunders, John Kahn, Martin Fierro and Ron Tutt.
Garcia’s voice and playing sound inspired and youthful while Saunders drives the soul with the organ and his gruff, husky singing voice, effortlessly paired with Kahn’s and Tutt’s steady rhythm and Fierro’s perfectly textured brass playing. The music more than delivers with the musical baton being passed around effortlessly, with leads chasing leads and the musicians following one another gracefully as evidenced on tracks like the hard-driving “Mystery Train” where the musician’s solos dance and sway with each other.

Das komplette Tracklisting:

Disc 1 -
1. Boogie on Reggae Woman - 10.03
2. The Night They Drove Old Dixie Down - 7.56
3. Freedom Jazz Dance - 13.39
4. Mystery Train - 12.30
5. How Sweet It is (To Be Loved by You) - 11.06

Disc 2 -
1. You Can Leave Your Hat On - 16.27
2. Neighbor, Neighbor - 12.30
3. The Night They Drove Old Dixie Down - 8.24

Disc 3 -
1. It's No Use - 13.26
2. Valdez in the Country - 13.23
3. I Second That Emotion - 14.53
4. Wondering Why - 24.53
5. Roadrunner - 12.48

Art-Nr.: 8362
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 21,90

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Garcia, Jerry - on broadway: act one - october 28th, 1987 [2015]
3 CD-Set! Erste Veröffentlichung einer neuen Serie historischer Jerry Garcia-Konzerte, die die Shows der Jerry Garcia Band am Broadway zum Thema hat. Die vorliegenden 3 CDs haben die kompletten, bislang unveröffentlichten Sets vom 28. Oktober 1987 aus dem berühmten Lunt-Fontanne Theatre am New Yorker Broadway zum Inhalt. An diesem Tag gab es zwei akustische Sets der Jerry Garcia Acoustic Band und einen elektrischen mit der Jerry Garcia Band. Großartig!

Hier der offizielle Text zur Veröffentlichung im Original:

We're excited to announce the debut of On Broadway, a new archival series celebrating Jarry's magical 13 night run at the historic Lunt-Fontanne Theatre in New York City's Broadway theater district. On Broadway: Act One - October 28th, 1987 presents three complete sets of music, including previously unrelease matinee and evening acoustic sets from the Jerry Garcia Acoustic Band, as well as the evening electric set from the Jerry Garcia Band. The release was produced from newly remastered two-track soundboard recordings originally captured to digital audio tape and includes previously unpublished live photos, and a liner note essay by author, historian and Grateful Dead publicist, Dennis MyNally.
"The (two) Garcia Bands' - Jerry Garcia Acoustic Band, and the electrig JGB - 1987 run on Broadway from October 15th through Halloween was destined to be memorable for many reasons", as Dennis McNally states in the liner note essay. There's record setting ticket sale figures, a destiny tied to Jerry's namesake (Broadway composer Jerome Kern) and of course the sheer visual addity that is Deadheads descending upon The Great White Way, but what shines brightest is Garcia's juvial abd relaxed mood which sets the stage for the inspiring performances contained within the release. The below excerpt drom McNally's liner notes sums up the magic contained within the collection perfectly.
"The electric JGB was its usual solid self, ripping up Jerry's customany mix of Dylan (note especially Melvin's gorgeous, outstanding synthesizer work at 'Knockin' on Heaven's Door'), reggae (Peter Tosh's 'Stop That Tarin'), Mowtown (Marvin Gaye's 'How sweet it is') and Los Lobos' 'Evangeline'. The most interesting original here is the not-so-commonly sung 'Gomorrah', which garcia simply nails.
But it was the acoustic band that was unusual in this context, and it's worth some particilar attention. There are bluegrass songs - the Stanley Brothers' 'If I lose', amon others - folk songs - Libba Cotten's 'Oh babe it ain't no lie' - and country songs like the Tex Logan-arranged 'Diamond Joe' or Mel Tillis and Webb Pierce's 'I ain't nver', which has a Garcia/Nelson vocal duetthat sounds just like the Everly Brothers. The material was classy and fun and in some odd way just exactly right for Broadway".

Die kompletten Setlists:

Disc: 1
1. Opening Announcement
2. Deep Elem Blues
3. I m Troubled
4. Spike Driver Blues
5. Band Introductions
6. Blue Yodel #9
7. Short Life of Trouble
8. If I Lose
9. I m Here To Get My Baby Out of Jail
10. Oh Babe It Ain't No Lie
11. Drifting To Far From The Shore
12. Ragged ut Right

Disc: 2
1. Opening Announcement
2. I ve Been All Around this World
3. Ballad of Casey Jones
4. Blue Yodel #9
5. I m Troubled
6. Rosa Lee McFall
7. Band Introductions
8. Diamond Joe
9. I Ain't Never
10. It's A Long Long Way To the Top Of The World
11. Bright Morning Stars
12. Ragged But Right

Disc: 3
1. How Sweet It Is (To Be Loved By You)
2. Forever Young
3. Stop That Train
4. Band Introductions
5. Run For The Roses
6. Evangeline
7. Knockin' On Heaven's Door
8. Gomorrah
9. Tangled Up In Blue
10. My Sisters and Brothers

Art-Nr.: 8889
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 23,90

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Garcia, Jerry & Merle Saunders - garcia live vol. 6: july 5th 1973, lion's share [2016]
3 CD-Set! Sechster Teil der beliebten GarciaLive-Reihe. Mitgeschnitten von der berühmten Grateful Dead Archivistin und "recording engineer" Betty Cantor-Jackson gibt es diesmal eine fantastische, bislang gänzlich unveröffentlichte Performance von Jerry Garcia und Merle Saunders mit ihrer Band (mit Bassist John Kahn und Drummer Bill Vitt, plus einem "mystery guest on trumpet") aus dem kleinen, gerade mal 200 Leute fassenden Bay Area Lion’s Share Club in San Anselmo, CA vom 5. July 1973. Erneut ein absolutes Fest für die Jerry Garcia-Gemeinde und die Deadheads.

Die offizielle Produktbeschreibung:

Volume Six showcases Jerry Garcia and Merl Saunders’ July 5th, 1973 performance at the Lion’s Share in San Anselmo, CA. Recorded by Betty Cantor-Jackson just five days prior to the seminal performances celebrated on the Live at the Keystone series, GarciaLive Volume Six highlights a particularly adventurous evening at the Lion’s Share, a 200 capacity club known for its vibrant music scene which drew regulars like Janis Joplin, Phil Lesh, Van Morrison, and many others. The club’s intimacy can be felt throughout the recordings as the band, rounded out by John Kahn on bass and drummer Bill Vitt, frequently launch into extended improvisations fueled by the exchange of energy with the audience. The blistering “She’s Got Charisma” -> “That’s Alright, Mama”, which clocks in at over 31 minutes long, “starts off innocently in familiar blues territory, but very quickly deconstructs into fragmentation and exploration, defying both gravity and expectation at the same time” as writer Benjy Eisen eloquently describes in the releases’ liner note essay. The presence of an unidentified guest on trumpet during the band’s second set adds to the freedom and looseness found within the performance. The guest trumpeter is felt most during extended takes on “My Funny Valentine” and “Merl’s Tune,” both easy highlights of the entire evening.

Die komplette Setliist:

Disc: 1
1. After Midnight - 10.35
2. Someday Baby - 9.15
3. She's Got Charisma - 18.41
4. That's Alright, Mama - 13.17

Disc: 2
1. The System - 18.45
2. The Night They Drove Old Dixie Down - 5.59
3. I Second That Emotion - 13.30
4. My Funny Valentine - 19.17
5. Finders Keepers - 9.30

Disc: 3
1. Money Honey - 8.38
2. Like A Road - 9.22
3. Merl's Tune - 16.45
4. Lion's Share Jam - 9.52
5. How Sweet It Is (To Be Loved By You) - 6.05

Art-Nr.: 9200
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 23,90

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Gov't Mule - dub side of the mule - deluxe edition ~ 3 cd & 1 dvd-set [2015]
Wir haben die U.S.-Originalausgabe!

Deluxe Edition! 3 CD & 1 DVD-Set! Dritte opulente Veröffentlichung von Gov't Mule anlässlich ihres 20-jährigen Bandjubiläums. Diesmal hat man aus den Archiven das komplette Konzert der Silvesternacht 2006 aus dem new Yorker "Beacon Theatre" ausgewählt - wie so oft bei Warren Haynes und seinen mannen eine aussergewöhnliche, packende Show! Neben zahlreichen, selten gespielten Coverstücken und Mule-Originalen hat die Band während des über 3-stündigen Konzertes einen 60-minütigen Reggea-Set eingebaut. Was für eine Show!
Die DVD (Reggea-Set) ist im übrigen "code free" und somit auf jedem DVD.Player abspielbar.

Aus der Original-Produktbeschreibung:
Dub Side of the Mule will be released on April 7th via Evil Teen Records. Recorded during Mule’s fabled New Year Eve 2006 performance at the Beacon Theatre in New York City, the show features three-plus hours of Mule standards and covers, including a 1-hour reggae/R&B set featuring Toots Hibbert, the legendary founder of Toots & The Maytals. This set includes many of Toots’ revered songs including: “Pressure Drop,” “54-46 Was My Number,” “Reggae Got Soul,” a rendition of the Easy Star All-Stars' arrangement of Radiohead's “Let Down.” The album also includes special appearances by Gregg Allman & Friends and John Popper (from Blues Traveler). All 34 tracks have been remixed and mastered.

Die komplette Setlist:

Disc 1:
1. Thorazine Shuffle
2. Larger Than Life
3. She Said, She Said
4. Tomorrow Never Knows
5. Whiter Shade Of Pale
6. Dolphineus
7. Painted Silver Light
8. Sco-Mule
9. So Weak, So Strong
10. Play With Fire
11. Unring The Bell

Disc 2:
1. I'm A Ram
2. 54-46 Was My Number (with Toots Hibbert)
3. Hard To Handle (with Toots Hibbert)
4. True Love Is Hard To Find (with Toots Hibbert)
5. Pressure Drop (with Toots Hibbert)
6. Let Down (with Toots Hibbert)
7. I've Got Dreams To Remember (with Toots Hibbert)
8. Reggae Got Soul (with Toots Hibbert)
9. Hard Road (with Toots Hibbert)
10. Happy New Year (iwth Toots Hibbert)
11. Turn On Your Love Light (with Toots Hibbert)
12. Reggae Soulshine

Disc 3:
1. Intro
2. Sweet Feeling (with Gregg Allman & Friends)
3. Just Like A Woman (with Gregg Allman & Friends)
4. I Feel So Bad (with Gregg Allman & Friends & John Popper)
5. Dreams (with Gregg Allman & Friends)
6. Million Miles From Yesterday
7. Endless Parade
8. It's A Man's Man's Man's World
9. Ramblin' Gamblin' Man (with John Popper)
10. It Hurts Me Too (with John Popper)
11. Goin' Out West (with John Popper)

DVD:
1. I’m A Ram
2. 54-46 Was My Number
3. Hard To Handle
4. True Love Is Hard To Find
5. Pressure Drop
6. Let Down
7. I’ve Got Dreams To Remember
8. Reggae Got Soul
9. Hard Road
10. Happy New Year
11. Turn On Your Love Light
12. Reggae Soulshine

Art-Nr.: 8826
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 27,90

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Green, Pat - lucky ones [2004]
Drittes Majorlabel-Release von Texas-Hero Pat Green! Wieder ein klasse Album! Nach den Erfolgen seiner beiden Vorgängerwerke und den Riesenhits "Carry on" und "Wave on wave" hat sich Green mittlerweile auch über die Grenzen von Texas hinaus tief in die Herzen der Country-/New Country-Gemeinde gespielt. Mit "Lucky ones" macht er grundsätzlich da weiter, wo er bei "Wave on wave" aufgehört hat, wenngleich die Tracks insgesamt noch radiotauglicher wirken als zuvor. Das möchten wir aber keinesfalls als Negativum verstanden wissen, ganz im Gegendteil! Er hat sich seine Texas-Roots bewahrt und versteht es perfekt, die Schnittstelle zwischen knackigem Nashville New Country und seiner ihm angeborenen, natürlichen texanischen Ursprünglichkeit zu treffen. In einer US-Besprechung ist etwas von einer Kombination aus Kenny Chesney, Guy Clark, Willie Nelson und John Mellencamp zu lesen... - addiert man noch ein wenig Radney Foster und Keith Urban hinzu, so kommt das in etwa hin! Tatsächlich hört man zuweilen so ein gewisse "John Mellencamp goes Country"-Feeling ala "Small town" (kein Wunder sind doch Mellencamp's ex-Musiker David Grissom an der Gitarre und Lisa Germano an der Fiddle bei fast allen Tracks dabei), was sich aber fanz großartig in dem knackigen, sehr Gitarren orientierten, saftigen New Country-Sound einfügt. Die Songs stecken durchweg voller Frische, Schwung und prächtiger, gut hängen bleibender Melodien! Es wäre nicht verwunderlich, wenn für den guten Pat bei "Lucky ones" eine ganze Reihe Hits abfallen würden. Nehmen wir beispielsweise den immens gute Laune verbreitenden, knackigen Opener "Baby doll" mit seinem schwungvollen Fiddle-/Gitarren-Drive, die großartige, von Radney Foster geschriebene Midtempo Country-Nummer "Lucky ones", die mit ihrer schönen Gitarren-/Fiddle-/Steelguitar-Kombination und ihrer Struktur an beste Foster & Lloyd-Zeiten erinnert, den wundervoll flüssigen, frischen, die Sonne ins Herz lassenden, knackigen Countryrocker "Somewhere between Texas and Mexico" mit den satten, klaren Gitarren, der feinen Mandoline und der klasse Melodie, wie auch der zusammen mit Wade Bowen geschriebene Texas-Midtempo-Countryrocker "Don't break my heart again" - alles Titel, die eine gute Chartposition allemal verdient hätten. Sehr stark auch die lupenreine, traditionell verwurzelte, mit tollen Gitarrenlinien, herrlichen Banjo- /Mandolinen-/ und Steel-Licks ausgestattete, peppige Countrynummer "College", geschrieben von Pat und Brad Paisley, der hier nicht nur sein excellentes Gitarrenspiel beisteuert, sondern auch als Duett-Partner fungiert! Weitere "Hits": Eine fantastische, wie geschmiert abgehende, von tollen Gitarren und einem ordentlichen Roots-Flair begleitete Version von Jack Ingram's Countryrock-Feger "One thing", die schöne, so viel Frische ausstrahlende, reine Texas Midtemp-Countrynummer "Long way to go (headed home)", die Steel- und Gitarren-getränkte, voller Americana-Feeling steckende, wundervolle Ballade "Temporary angel" und das semi-akustische, sehr rootsige, an Steve Earle erinnernde "Sweet revenge" (Co-Autor: Ray Wiley Hubbard)! Der Mann aus Waco und seine Pat Green Band, mit der er das Album, bis auf die oben erwähnten Gäste, weitgehend eingespielt hat, haben wieder einen tollen Job gemacht. Erwähnenswert ist noch, daß der große Herb Pederson (Dillards / Desert Rose Band / Hillman-Pederson) bei einigen Tracks den Background-Gesang übernahm. Ein prima Album, das von vorn bis hinten Freude bereitet!

Art-Nr.: 2888
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 16,90

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

Original Album-Review des New Yorker Wall Street Journal:

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

Das komplette Tracklisting:

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

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

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