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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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Childers, Tyler - country squire [2019]
Der aus dem U.S.-Bundesstaat Kentucky stammende Tyler Childers ist nach seinem viel beachteten 2017er Debut "Purgatory" so etwas wie das zur Zeit "heißeste Eisen" unter den Countryfans und -experten, sowohl was die Mainstream Country-Fraktion, als auch die Liebhaber des Alternate Country oder Indie Country betrifft. Völlig zu Recht, wie wir finden, denn Childers grandioses Songmaterial ist vor allem eins: Pur Country durch und durch. Oder wie die Amerikaner sagen: "Country Music to it's core"! Für den Mainstream ist das so etwas wie die immer mal wieder beschworene "Rettung der Countrymusic", für die Vertreter des Alternate Country ist diese Musik trotz aller wunderbaren Melodien immer noch rau, kantig und erdig genug, niemals überproduziert. Dafür sorgt vor allem auch das hervorragende Produzenten-Team, bestehend aus Sturgill Simpson und David Ferguson. Outlaw Country, purer Honky Tonk, grassiger Country, angerockter Country, folkiger Country - alles wird geboten, und zwar auf höchstem, musikalischen Niveau. Keine Frage, Tyler Childers ist aktuell einer der spannendsten und talentiertesten Countrykünstler überhaupt. Ein vortreffliches, erstklassiges, wohltuend aus dem die Charts überflutenden "Einheitsbrei" herausragendes Album!

Hier noch ein Original U.S.-Review:

Tyler Childers is the greatest artist in country music at the moment, mainstream or independent, on the radio off, major label or otherwise. And soon, if there is any justice in this ragged old life, the rest of the world will know this to be true as well. Tyler’s new album Country Squire should be a breakthrough achievement, and is everything you hoped and wanted from his major label debut, despite the worry that washed over many faces due to the early songs released from the record, and noisy naysayers who are always quick to turn coat against anything that becomes popular.
Country Squire is country music to its core. Country Squire is a collection of songs worthy of critical acclaim. Country Squire may be the high water for the career of Tyler Childers thus far, only fair to question due to the quality of his last record Purgatory and his previous releases as well. Country Squire feels like an achievement and a victory for independent country fans. But whatever you do, don’t call it Americana.
In some ways the release of Country Squire presented a trap for Tyler Childers and his long time fans. When expectations range so high like they did for this record, letdown becomes a very real possibility regardless of the quality of the eventual release, if it’s not outright inevitable. If you consume everything “Tyler Childers” you can get your hands on, including fan videos from recent concerts, then you’ve probably already heard or seen most or all of the songs from Country Squire before, and may have fallen in love with those earlier versions, raw and in the live context. Since Tyler Childers became a headliner so quickly and has been touring so hard, he dipped into his new material pretty deep ahead of this release.
Then of course you have the diehards and purists who allow their opinions to putrefy on anything that emanates from a major label or can be construed as “popular.” Those people can kiss off of course, but their opinion sharing can additionally cloud the public’s judgement on and impending release. And none of this delves into the two songs released ahead of Country Squire—the energetic, but simple and straightforward “House Fire” where Tyler’s vocals sounded a little too down in the mix, and the highly questionable production all the way around of “All Your’n.” Even some of the psychedelic and drug imagery preceding the release was off putting to some, swinging their opinions on this record from highly anticipated, to expecting to be let down.
Five seconds into Country Squire, and not only are all your worries resolved, all is right in the country music world. The raw Kentucky sound and songwriting fills your ear canals like supple graces of angelic manna. The authenticity drips from the tracks. The instrumentation is adept, but steeped in that raw, mountain music sound that is true to Tyler Childers. This record is even more Kentucky than Tyler’s previous record Purgatory, if that’s possible.
That’s not to say Country Squire is without imagination and inventiveness though, or is unwilling to take a few risks. The record presents itself as a “song cycle,” meaning it’s meant to be heard as a cohesive unit, cover to cover, and in the order the tracks are presented to stimulate the synchronous and immersive experience its creators intended. With Sturgill Simpson as producer along with David Ferguson, you shouldn’t be surprised at this outcome. Of course anyone can run track times together and employ some instrumental interludes between songs. It takes mastery and imagination to pull it off well. Country Squire is graced with that enviable attribute, making it hard to not lose yourself in this record.
Everyone who was drawing negative conclusions from the first couple of songs released—despite the warnings by Saving Country Music and others—should be happy to admit their trepidation was presumptive. Nobody in the record business these days seems to know how to pick the best songs from albums for pre-release. Sure, taken autonomously, “All Your’n” still feels like somewhat of an anomaly , and along with “House Fire,” they might present the two weakest tracks on the entire record. But in the context of the album itself, both are more forgivable, or understandable, or maybe even advantageous because they help build some texture into an otherwise very country record.
The scratchy, distressed production of Country Squire will still turn some off, and audiophiles will probably find something to complain about in the mix and mastering phase of this effort as they always do. But the approach also fits the raw and live aspect of the Tyler Childers sound. You don’t just hear these songs, you feel them, you smell them. They’re dripping in goat’s blood, brought down from the holler in a stolen station wagon, were stored away in the crawlspace under a singewide where the methheads can’t find them until they were ready to be revealed. They come from Tyler’s “country squire” … humble, but proud, and riddled with character like buckshot to the back of a rural stop sign.
But it all comes down to the songs. That is why we’re here talking about Tyler Childers. Not Sturgill Simpson nor anyone else could ruin these songs even if they wanted to, any anyone who allows names they don’t like to get in the way of music they should is failing as a music fan. True authenticity is a myth in modern country music … until you hear Tyler Childers. If you don’t like this record, you don’t like country music.
The era of bellyaching about the inequity that independent-minded artists face in country music is not over just yet, but it continues to be significantly compromised due to the success of artists like Tyler Childers. No longer can their contributions be scoffed at as inconsequential when they’re selling out tours and topping album charts, often testing and even besting the sales impact of many mainstream Music Row upstarts to the point that when the major labels do come calling, your favorite independent country artists can sign a deal on their own terms, keeping their creative license, and walking away with a handsome stack of cash.
Placing the burden of “country music savior” on the shoulders of anyone is presumptive an unfair. It was unfair and presumptive when some assigned that to Sturgill Simpson. But unquestionably, Tyler Childers and an album like Country Squire go a long way in the effort to help save country music. (Trigger Coroneos / SavingCountryMusic.com)

Das komplette Tracklisting:

1. Country Squire - 3:21
2. Bus Route - 3:07
3. Creeker - 5:01
4. Gemini - 2:32
5. House Fire - 3:53
6. Ever Lovin' Hand - 4:38
7. Peace of Mind - 4:42
8. All Your'n - 3:38
9. Matthew - 4:13

Art-Nr.: 9858
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 15,90

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

Original Album-Review des New Yorker Wall Street Journal:

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

Das komplette Tracklisting:

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

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

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Miller, Buddy - cayamo sessions at sea [2016]
Wow! Wieder mal ein kleines Meisterwerk von Buddy Miller, zusammen mit jeder Menge hochkarätiger Freunde während der "Cayamo Session" auf See. Brillant!

Aus der Original-Produktbeschreibung:

In 2012, Cayamo veteran Buddy Miller brought along some recording gear and set up a studio in the ship's library where he and his Sirius XM co-host Jim Lauderdale recorded episodes for their Buddy & Jim Radio Show. Buddy thought the radio show recordings sounded really good so, in 2014, he brought more gear, an engineer and some great musicians. They took over the Bliss Lounge where Buddy set up a temporary recording studio between the lanes of the bowling alley. For two days and nights, guest artists came to record and fans came to watch. It was so much fun, they did it all again in 2015. The audio presented on this release comes from those sessions. It is with great pleasure that New West Records presents Buddy Miller & Friends, Cayamo Sessions At Sea.

Das komplette Tracklisting:

1. After the Fire Is Gone (with Lee Ann Womack)
2. Love's Gonna Live Here (with Kacey Musgraves)
3. Sunday Morning Coming Down (with Kris Kristofferson)
4. Just Someone I Used to Know (with Nikki Lane)
5. Hickory Wind (with Lucinda Williams)
6. Wedding Bells (with Richard Thompson)
7. If Teardrops Were Pennies (with Elizabeth Cook)
8. Wild Horses (with Shawn Colvin)
9. Come Early Mornin (with Jill Andrews)
10. Take the Hand of Jesus (with Doug Seegers)
11. Angel from Montgomery (with Brandi Carlile and The Lone Bellow)

Art-Nr.: 9084
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 15,90

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Old 97's - graveyard whistling [2017]
Rhett Miller's Old 97's mit einem furiosen, neuen Album! "Graveyard whistling" ist klassischer Old 97's-Sound in allerbesten Sinne. Eine satt abgehende Synthese aus kernigem Rootsrock, Alternate Countryrock, Americana-Rock, Retro-Rock mit einem Hauch von Folkrock und Punk. Klingt wie eine feurige Mischung aus Johnny Cash, Wilco, Cracker und den guten, alten Kinks aus den Sechzigern. Tolles, klasse hängen bleibendes Songmaterial, schöne Gitarren, viel Drive, starker Gesang - die Old 97's sind in vorzüglicher Verfassung. Rock on, Okd 97's! Ein tolles Album!

Das komplette Tracklisting:

1.I Don't Wanna Die In This Town - 3:58
2. Bad Luck Charm - 3:33
3. All Who Wander - 4:13
4. Jesus Loves You - 3:20
5. Good With God - 3:55
6. She Hates Everybody - 3:41
7. Irish Whiskey Pretty Girls - 4:19
8. Nobody - 3:17
9. Drinkin' Song - 2:55
10. Turns Out I'm Trouble - 4:36
11. Those Were The Days - 3:56

Art-Nr.: 9400
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 14,90

In folgende Titel können Sie reinhören:
I don't wanna die in this town
Bad luck charm
All who wander
Good with God
She hates everybody
Drinkin' song
Those were the days

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Parton, Dolly - those were the days [2005]
Wie sehr hat Dolly Parton die Fans anspruchsvoller Acoustic Country Music in den letzten Jahren mit ihren hervorragenden Alben begeistert. Seinen vorläufigen Höhepunkt findet dieser Veröffentlichungs-Reigen wohl aber mit ihrem neuen Werk "Those were the days", mit dem ihr sicher etwas ganz besonderes gelungen ist! Sie hat sich einen eigenen, kleinen, musikalischen Traum verwirklicht, indem sie 12 ihrer absoluten Lieblingslieder aus der Pop-, Rock-, Folk-, und Countrywelt der Sechziger und Siebziger coverte, und diese Songs in ungemein frisch wirrkende, hinreißende Acoustic Country-/Bluegrass-Arrangements packte. "I had the big idea to produce a CD of some of the songs of the '60s and '70s that I love and that have touched me deeply in one way or another", sagt sie über das Projekt. "Then I got the bigger idea to have as many of the original artists and/or writers come sing on the songs with me. I was so happy and surprised that almost all of them said 'yes'", führt sie weiter aus. Und das macht in der Tat einen zusätzlichen Reiz aus, daß jede Menhge der seinerzeit Original-Beteiligten hier wieder mitwirken, dazu eine stattliche Anzahl aktueller Interpreten, die Dolly mit Duett- oder Background-Gesängen unterstützen. So hören wir tolle Fassungen von dem Mary Hopkin-Evergreen "Those were the days" (mit Mary Hopkin selbst als Gast und einer sogenannten "Opry-Gang" um Leute wie Porter Wagoner, Geoge Jones, Mel McDaniel, Brenda Lee, Pam Tillis u.v.m.), eine herrlich, frische, voller Appalachian-Flair steckende, mit toller, flockiger Banjo-, Dobro- und Mandolinen-Begleitung instrumentierte Bluegrass-Version von Bob Dylan's "Blowin' in the wind" (mit Nickel Creek als Gäste), Pete Seeger's "Where have all the flowers gone" (mit Norah Jones und Lee Ann Womack), "Twelfth of never" (ein fantastisches Duett mit Keith Urban), eine tolle Acoustic Country-Fassung von Cat Stevens' "Where do the children play" (Stevens', alias Yusuf Islam, ist selbst mit dabei), "Me and Bobby McGee" (mit Kris Kristofferson), eine wundervolle, grassige Country-Version des alten Tommy James & the Shondells-Hits "Crimson and clover" (mit Background-Gesang von Tommy James selbst), "The cruel war" (ein Traditional mit Alison Krauss, Mindy Smith und Dan Tyminski), dem Byrds-Klassiker "Turn, Turn, Turn" (mit Roger McGuinn), ein wundervolles, in klassischen, puren Country-Stil vorgetragenes Duett mit Joe Nichols von "If I were a carpenter", Joni Mitchell's "Both sides now" (mit Rhonda Vincent und Judy Collins), sowie eine sehr emotionale Interpretation von John Lennon's "Imagine", mit David Foster am Klavier! Und was da ansonsten noch für hochkarätige Musiker mitwirken: Bryan Sutton, David Talbot, Sam Bush, Stuart Duncan, Andy Hall, Bob Mater, Danny Roberts, Jimmy Mattingly, usw.! Bewegende Momente der Sixties-/Seventies-Musikgeschichte in Dolly's herrlichem Acoustic Country-/Bluegrass-Gewand - wunderbar!

Art-Nr.: 3608
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 16,90

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Phish - colorado '88 [2007]
Achtung: Weitere neue Phish Live-Veröffentlichungen eingetroffen! Siehe im Programm unter Phish!

3 CD-Set! Hoch interessantes, neues 3er Live-Album der großartigen Jamrock-Truppe aus Vermont, als sie im Sommer 1988, in "jungen Jahren", als aufstrebende Band einen Trip in den Rocky Mountain-State unternahmen und in 10 Tagen 7 Shows (zwischen dem 28.07. und 06.08.1988) in kleinen Clubs und Bars spielten. Damals wurden all diese Konzerte analog auf Kassette mitgeschnitten, von denen nun 36 Songs in aufbereiteter, neu gemasterter Qualität, die diesen intimen, ürsprünglichen Charme der damaligen Shows wunderbar beibehalten hat (das dezente Grundrauschen stört dabei überhaupt nicht), den Weg auf "Colorado '88" fanden. Das Album ist randvoll mit toller Phish-Musik (jede CD läuft über 79 Minuten, was eine Gesamtspielzeit von knapp 4 Stunden ergibt), dessen Tracklist eine ganze Anzahl von raren Songs enthält, die bis dato niemals ihren Weg auf irgendein offizielles Phish-Album fanden. Kommt in einer feinen 4-fach aufklappbaren Digipack-Verpackung, inklusive eines 36-seitigen Booklets mit schönen Bildern des damaligen Colorado-Trips!

Hier der offizielle Text zu dem Album von der Phish-Website:

"Despite having only traveled outside Vermont occasionally, hitting the New England college and club circuit, Phish embarked on a storied adventure West. The band played seven shows in ten days to tiny crowds in small bars and restaurants in the ski towns of Telluride and Aspen. Colorado '88 culls, in chronological order, the best of those shows, providing a vivid glimpse into the days before the three and four-night stands at amphitheatres and arenas that would distinguish Phish in the years to come.
Mastered from the original analog cassette tapes, Colorado '88 contains recordings of songs that, until now, have not been widely traded or heard with such clarity. Several of the tracks found in the collection have never before appeared on an official Phish release.
The material on Colorado '88 depicts the young band at a height of their characteristic adventurousness and showcases the compositional and improvisational potential that eventually defined Phish shows worldwide. From extended forays into their Gamehendge mythology to covers and cult gems, Colorado '88 is a treasure chest of hard-to-find early Phish. The CDs flow as a single show, touching upon all aspects of the band's developing talents and highlighting the unique symbiosis shared with their audience from the beginning. Until now, only the dozen or so people who attended these shows could attest just how enchanting these shows were. With the release of Colorado '88 we can all share the experience of hearing the band in such an intimate setting."

Das komplette Tracklisting:

Disc 1
1 The Curtain With - 17:34   
2 The Sloth - 3:07   
3 Icculus - 4:48   
4 Colonel Forbin's Ascent - 5:43   
5 Fly Famous Mockingbird - 9:14   
6 I Didn't Know - 5:38   
7 Maiden Voyage - 9:29   
8 Timber - 11:23   
9 Harpua - 12:29   

Disc 2
1 Fluffhead - 14:54   
2 Run Like an Antelope - 10:58   
3 Sneaking Sally Thru the Alley - 6:47   
4 Light Up or Leave Me Alone - 7:27   
5 The Lizards - 10:21   
6 I Know a Little - 2:59   
7 The Man Who Stepped into Yesterday - 3:18   
8 Avenu Malkanu - 3:09   
9 The Man Who Stepped into Yesterday - 1:35   
10 Flat Fee - 2:22   
11 McGrupp and the Watchful Hosemasters - 9:32   
12 Alumni Blues - 4:31   
13 A Letter to Jimmy Page - 1:00   
14 Alumni Blues - 0:44   

Disc 3
1 Camel Walk - 5:39   
2 Wilson - 5:47   
3 No Dogs Allowed - 13:50   
4 Mike's Song - 4:55   
5 I Am Hydrogen - 2:06   
6 Weekapaug Groove - 4:20   
7 You Enjoy Myself - 17:31   
8 Cities - 4:44   
9 Dave's Energy Guide - 1:25   
10 Cities - 0:41   
11 Ac/DC Bag - 10:06   
12 Corinna - 4:33   
13 Thank You - 3:37

Art-Nr.: 5396
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 21,90

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Watson & his Lone Stars, Dale - the ruckin' sessions [1998]
Hier ein Original U.S.-Review:

Once upon a time, a long time ago, on a faraway planet similar to, yet very different from our own, existed a genre of music called Country Music. Within that genre was a subgenre know as Truck Driving Music, a subgenre mostly populated by big men with deep rumbling voices that sounded of too many cigarettes and too much coffee consumed at 3 AM at truck stops and diners around the country. This subgenre was populated by legendary singers such as Dick Curless, Del Reeves, Red Simpson, and Red Sovine. The king of the genre, the man so loved by truck drivers that the Teamsters Union awarded him a gold membership card, was Dave Dudley.
Meanwhile back on our own planet, the genre of Truck Driving Music barely exists at all, at least to judge from what is played by radio and CMT. What we have instead is songs about ruttish young males with their pickup trucks searching for scantily-clad females. Most of it is garbage and almost none of it is memorable.
That the genre of Truck Driving Music exists at all is largely due to the efforts of one brave man, Dale Watson, who has issued three complete albums of Truck Driving Music, starting with The Truckin’ Sessions, issued in 1993. With this album Watson brings the feel of classic Truck Driving Music front and center for the first time in at least a decade and a half , or since the decline of the CB era.
Dale Watson wrote all fourteen of the songs on The Truckin’ Sessions, and while it might have been interesting to hear Dale’s take on some of the old classics of the genre, the product presented here is more than satisfactory , and is a worthy successor to the tunes of Dave Dudley, Red Simpson, et al.
Most of the songs on the album are taken at an up-tempo reminiscent of Dave Dudley’s “Six Days On The Road” or “There Ain’t No Easy Rides”; however, the overall feel of the album owes more to the ‘Bakersfield Sound’ of Buck Owens, Merle Haggard, Speedy West and Red Simpson, than to anything produced in Nashville.
“Good Luck ‘n’ Good Truckin’ Tonite” opens the album with one of those up-tempo songs referenced above. This track is followed by “Big Wheels Keep Rollin’ ” a song which reminds me of the Merle Haggard classic “White Line Fever”

    Big wheels keep rollin’
    Feel the rumble ‘neath my feet
    Big wheels keep rollin’
    The feelin’s a part of me

This is followed by “Heaven In Baltimore” an upbeat number about the girl waitin for him in Baltimore. The arrangement is similar to the ‘freight train’ sound that Buck Owens used during the 1960s.

    Heaven in Baltimore
    Heaven in Baltimore
    Put the pedal to the metal
    She’s waitin’ by the door
    My Heaven in Baltimore

“Have You Got It On” is a mid-tempo ballad featuring some really nice steel guitar work by band member Ricky (C-Note) Davis. In fact, Davis shines through the album.

    I see you roving up by tough look side
    You got a six foot Shakespeare stickin’ in the sky
    You’re smiling at me from your side view mirror
    We might be closer than we appear

    Babe, have you got it on?
    Babe, have you got it on?
    Come on, come on, come back
    Babe, have you got it on?

“Makin’ Up Time” picks up the tempo as does “Flat Tire”, a song about a trucker stranded by a flat. The arrangement on this song would fit nicely onto many of Dave Dudley’s efforts.
“Drag Along and Tag Along” is a bluesy ballad in which Davis runs some steel guitar runs that remind one of Speedy West.
“Exit 109″ finds our hero being seduced by a female on the CB radio for a tryst, whereas ” Help Me Joe” tells the tale of a trucker far away from home who is fueled by coffee in his efforts to survive
“Everyday Knuckleclutchin’ Gearjammin’ Supertruckin’ Loose Nut Behind The Wheel” is a trucker’s self-description of himself and his life.

    Stopped to grab a cup of Pick-Me-Up
    At the Pink Poodle Coffee Shop
    I had a pow-wow with a couple of pals
    I said I’d meet there on the flip flop
    We started tradin’ stories with a little added glory
    You’d think we were made of steel
    Just your everyday knuckleclutchin’ gearjammin’ …

“You’ve Got A Long Way To Go” is an older truckers words of advice to a young driver.
“Longhorn Suburban” is a mid-tempo ballad extolling the joys of the open road.
The up-tempo arrangement, reminiscent of Del Reeves’ “Looking At The World Through A Windshield”, belies the sad lyrics of “I’m Fixin’ To Have Me A Breakdown”, a tale of a truck driver whose girl has left him.
Despite the solitary nature of the job, most truck drivers are family men and the reason why they persevere is exemplified by “I Gotta Get Home To My Baby”. It’s a topic that has been dealt with many times, and Dale does it as well as anyone.

    That big eyed smile and a long hard hug
    That’s what I got waitin’ for me
    Move out of my way
    I gotta get there today
    She’s got her heart countin’ on me

I really liked this album and the full and tight sound Dale’s band achieves with only four musicians. Because Dale plays his own lead guitar, he seems to let the steel guitar carry more of the melody lines than might otherwise be the case. Preston Rumbaugh plays bass and Brian Ferriby plays the percussion as it should be played – strictly to keep the rhythm.

Grade: an easy A+
(Paul W. Dennis / My Kind of Country)

Das komplette Tracklisting:

1. Good Luck 'N' Good Truckin' Tonite - 2:18
2. Big Wheels Keep Rollin' - 3:39
3. Heaven in Baltimore - 1:33
4. Have You Got It On - 3:02
5. Makin' up Time - 2:22
6. Flat Tire - 2:23
7. Drag Along & Tag Along - 2:55
8. Exit 109 - 3:01
9. Help Me Joe - 2:28
10. …loose Nut Behind the Wheel - 3:16
11. You've Got a Long Way to Go - 2:14
12. Longhorn Suburban - 2:35
13. I'm Fixin' to Have Me a Breakdown - 2:03
14. I Gotta Get Home to My Baby - 2:30

Art-Nr.: 9748
Gruppe: Musik || Sparte: Country
Status: Angebot || Typ: CD || Preis: € 7,90

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