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Alvin, Dave & Jimmie Dale Gilmore - downey to lubbock [2018]
Zwei "alte" Haudegen und Pioniere der amerikanischen Roots-Szene tun sich zusammen und liefern ein geradezu brillantes Album ab. Der aus Downey in Californien stammende ex-Blasters-Veteran Dave Alvin und der in Lubbock/Texas beheimatete Roots-/Country-/Folk-/Singer-Songwriter Jimmie Dale Gilmore nehmen uns auf "Downey to Lubbock" mit auf eine wundervolle, ja mitreißende, packende Reise durch musikalisch faszinierende Landschaften von Roots, Blues, Rock, Americana und Alternate Country. Voller Leidenschaft, Biß und mit ungemein viel Gefühl, Seele und Authentizität repräsentieren sie ihre Heimat, Herkunft und musikalischen Einflüsse und Ideologien in 12 herausragenden, sehr abwechslungsreich und dennoch herrlich straight gestalteten und arrangierten Tracks. Zwei davon sind neu von ihnen komponierte, eigene Stücke, der Rest sind wunderbar um-arrangierte Coverversionen alter, beeindruckender Klassiker, die sie in ihrem musikalischen Werdegang auf irgendeine Art und Weise begleitet haben. Was die Beiden (Alvin spielt neben dem Lead Gesang noch bravourös akustische und elektrische Gitarre mit fulminanten Soli, Gilmore überzeugt neben der zweiten Lead-Stimme mit akustischer Gitarre und Mundharmonika) und ihre exzellenten Begleitmusiker (u.a. Skip Edwards - keyboards; Nick Forster - guitars, lap steel, mandolin; David J.Carpenter - bass; Don Heffington - drums und einige mehr) hier abliefern, ist die höchste Roots-, Blues-, Americana-, Rock-Schule. Los geht's mit dem genialen Titelstück "Downey to Lubbock", einem grandiosen, prächtig nach vorn gehenden, herrlich rootsigen, erdigen, "burning harp- and guitar-centered" Bluesrocker, in dem die beiden (sie teilen sich hier, wie auch bei einigen anderen Tracks, den Lead Gesang auf), textlich großartig verpackt, ihre musikalische Geschichte erzählen. Alvin besticht mit famoser Lead Gitarren-Arbeit (tolles Solo) und Gilmore mit nicht minder starkem Mundharmonika-Spiel. Die Nummer, die im übrigen auch toll auf Alvin's "Eleven Eleven"-Album gepasst hätte, hat einen klasse Drive. Welch ein Aufrakt! Es folgt eine saustarke Coverversion von Steve Young's "Silverlake", vorgetragen in einem ganz dezent mexikanisch angehauchten, leicht bluesigen, wundervollen, staubigen Americana-Gewand. Die großartige Begleitung aus vielschichtigen akustischen und elektrischen Gitarren, sowie unaufdringlicher Orgel und ebenso unaufdringlichem Akkordeon passt einfach super. Leicht und locker "galoppieren" die Zwei im Anschluß daran durch die herrliche, mit schöner Mandoline und klasse E-Gitarre inszenierte, lockere John Stewart-Nummer "July, you're a woman". Das ist rootsige, staubige Americana-Musik vom Allerfeinsten. Fantastisch auch das tierische, dezent akustisch beginnende, dann aber mächtig brodelnde, mit furiosen E-Gitarrenläufen und "rattenscharfen" Sax-Einlagen (Jeff Turner) gespickte Blues-Cover von Lightnin' Hopkins' "Buddy Brown's Blues", die hinreißend schöne, melodische, flockige "Mexican-flavoured" Countryrock-Version von Chris Gaffney's "The gardens", die tolle Version des alten 60iger Dino Valenti-/Youngbloods-Klassikers "Get together", das gewaltig rockende "Lawdy Miss Clawdy", wie auch die traumhaft melodische Americana-Nummer "Billy The Kid and Geronimo" - alles Höhepunkte eines von vorn bis hinten packenden Werkes. Dave Alvin und Jimmie Dale Gilmore mit einer herausragenden, ja überragenden Vorstellung, Ein absolutes Ausrufezeichen in Sachen Rootsmusik für das Jahr 2018! Kommt im übrigen in einem sehr schön gestalteten Digipack mit 24-seitigem, reich bebilderten und informativem Booklet.

Hier noch ein Original U.S.-Review:

You don’t need to know the backstory to this meeting of the minds of Dave Alvin and Jimmie Dale Gilmore, two of Americana’s most respected journeyman roots rockers. That’s because they do the work for you on the opening title track to this partnership where they trade vocals explaining their careers and somewhat unlikely collaboration on this disc’s only co-write.
Ex-Blaster Alvin hails from Downey, California, and ex-Flatlander Gilmore calls Lubbock, Texas home. The two are a decade removed in age but found common ground in their love of Americana music, specifically the blues, rock and roll, R&B, and folk acts that played LA’s famous Ash Grove club which they both frequented. These guys are road-hardened troubadours who know the once-endless highway is going to soon end but are determined to keep the faith. They do that beautifully on this studio alliance.
Alvin’s flinty baritone and Gilmore’s high lonesome, windswept style wouldn’t seem to be a natural combination. But even though there aren’t honeyed Everly Brothers-styled harmonies here, the contrast in their voices makes for a surprisingly riveting blend. They generally switch lead vocals, which also provides a window into which one brought the song - and all but two are covers - to the table.
Alvin pays tribute to late buddy Chris Gaffney by performing his bittersweet Tex-Mex ballad “The Gardens” (one of two tracks that also features legendary West Coast songwriter Van Dyke Parks on accordion) and Gilmore does the same for Steve Young in his warbling cover of the sweet memories on “Silverlake.” But it’s the classic rockers like Lloyd Price’s New Orleans stomper “Lawdy Miss Clawdy” and Brownie McGhee’s gospel-laced closing “Walk On” where the duo really finds their footing. Alvin’s distinctive lead electric guitar snakes through these tracks, bringing high voltage rollicking authority to Lightning Hopkins’ “Buddy Brown’s Blues” and the traditional swamp folk of “K.C. Moan.”
A cover of the Dino Valenti by way of the Youngbloods ’60s “smile on your brother/ love one another” anthem “Get Together” is as pertinent today as it was 50 years ago - perhaps more so - and this version with Gilmore’s trembling voice and Alvin’s taut guitar solo raises the temperature making it feel even more incisive. The California bred singer-songwriter’s lone new solo writing contribution, “Billy the Kid and Geronimo,” tells the fictional tale of a meeting between these two American fugitives, allowing both singers to trade verses based on the characters’ narratives, as they elicit sympathy for their violent lives.
A full band backs the twosome and while this might seem like an unusual pairing on paper, the result is an alternatively sweet, touching, rousing and undeniably heartfelt set that plays to both artist’s strengths while pushing each slightly outside their comfort zone. Hopefully, there will be a follow-up to further expand on this success that brings out the best in both Alvin and Gilmore and seems to just scratch the surface of their deep Americana pedigrees. (Hal Horowitz/American Songwriter)

Das komplette Tracklisting:

1. Downey to Lubbock - 5:49
2. Silverlake - 5:02
3. Stealin' Stealin' - 2:58
4. July, You're a Woman - 3:53
5. Buddy Brown's Blues - 3:51
6. The Gardens - 3:56
7. Get Together - 3:59
8. K.C. Moan - 5:12
9. Lawdy Miss Clawdy - 2:38
10. Billy the Kid and Geronimo - 4:45
11. Deportee - Plane Wreck at Los Gatos - 4:52
12. Walk On - 5:50

Art-Nr.: 9634
Gruppe: Musik || Sparte: Rock
Status: Neuheit || Typ: CD || Preis: € 15,90

In folgende Titel können Sie reinhören:
Downey to Lubbock
Silverlake
July, you're a woman
Buddy Brown's Blues
The gardens
Lawdy Miss Clawdy
Billy the Kid and Geronimo

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Asleep At The Wheel - still the king: celebrating bob wills and the texas playboys [2015]
In 2015 jährt sich der Todestag der berühmten Texas Western Swing-Legende Bob Wills zum 40. Mal. Und das Wills das ganz große Vorbild der unumstrittenen Ikonen des Swing Countrys und Western Swings der Gegenwart, Asleep At The Wheel, sind, ist beileibe kein Geheimnis. Bereits zwei veröffentlichte Tribute-Alben ("A tribute to the music of Bob Wills" und "Ride with Bob") stehen bei den Mannen um Ray Benson zu Buche, nun folgt, rechtzeitig zum 40. Todestag, mit "Still the king" die dritte Hommage. Wie zuvor haben Asleep At The Wheel" auch diesmal wieder eine ganze Horde illustrer Gäste zusammengetrommelt, um mit ihnen gemeinsam diese erneute Hommage einzuspielen. Und wieder ist es ein grandioses Werk geworden, das den beiden Vorgängern in nichts nachsteht. Besser kann man diese Art der Countrymusic nicht zelebrieren. Mit dabei sind beispielsweise Lyle Lovett, Wille Nelson, The Del McCoury Band, George Strait, Buddy Miller, The Time Jumpers, Brad Paisley, Merle Haggard, Jamey Johnson und viele, viele mehr. 22 tolle Songs! Kommt in einer feinen, exklusiven Digipack-Verpackung mit 20-seitigem Booklet. Großartig!

Das komplette Tracklisting:

1. Intro - Texas Playboy Theme (with Leon Rausch) - 1:13
2. I Hear Ya Talkin' (with Amos Lee) -3:28
3. The Girl I Left Behind Me (with The Avett Brothers) - 2:31
4. Trouble In Mind (with Lyle Lovett) - 4:07
5. Keeper Of My Heart (with Merle Haggard & Emily Gimble) - 3:32
6. I Can't Give You Anything But Love (with Kat Edmonson & Ray Benson) - 3:19
7. Tiger Rag (with Old Crow Medicine Show) - 2:55
8. What's The Matter With The mill (with Pokey LaFarge) - 3:06
9. Navajo Trail (with Willie Nelson & The Quebe Sisters) - 3:05
10. Silver Dew on The Bluegrass Tonight (with The Del McCoury Band) - 3:27
11. Faded Love (with The Time Jumpers) - 4:21
12. South of the Border (Down Mexico Way) (with George Strait) - 4:14
13. I Had Someone Else Before I Had You (with Elizabeth Cook) - 2:45
14. My Window Faces The South (with Brad Paisley) - 2:32
15. Time Changes Everything (with Buddy Miller) - 3:37
16. A Good Man Is Hard To Find (with Carrie Rodriguez & Emily Gimble) - 2:36
17. Ding Dong Daddy From Dumas (with Robert Earl Keen & Ray Benson) - 3:25
18. Brain Cloudy Blues (with Jamey Johnson & Ray Benson) - 4:20
19. Bubbles In My Beer (with The Devil Makes Three) - 2:38
20. It's All Your Fault (with Katie Shore) - 2:54
21. Twin Guitar Special (with Tommy Emmanuel, Brent Mason & Billy Briggs) - 4:04
22. Bob Wills Is Still The King (with Shooter Jennings, Randy Rogers & Reckless Kelly) - 2:23

Art-Nr.: 8814
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 16,90

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Das komplette Tracklisting:

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

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

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Brown, Kane - same [2016]
Vielversprechendes Debut des jungen Mannes aus East Tennessee, der als einer der größten Zukunftshoffnungen Nashville's für den Maistream Country gilt. Der Bursche hat schon einen immensen Erfolg auf den digitalen Plattformen und steht vor dem absoluten Durchbruch im Country-Radio. Kane Brown präsentiert sich modern, knackig, rockig, hat auch ein paar Balladen im Repertoire, zeigt aber auch sehr deutlich seine absoluten Country-Roots, vor allem mit seiner klasse Stimme - die ist nämlich durch und durch "country". Große Konkurrenz für Leute wie Thomas Rhett, Florida Georgia Line, Hunter Hayes & Co.!

Hier noch ein U.S.-Review im Original:

East Tennessee’s Kane Brown first came to prominence through Facebook and YouTube singing covers and originals and grew a passionate, engaged fan base which helped him make it to the top of the charts without a record label. Now signed to RCA Records Nashville, Kane Brown has this album --his self-titled, first full-length project -- ready to launch. “Thunder In The Rain” is the lead single from Kane Brown and while the song has sold a couple hundred thousand downloads and earned accolades throughout the digital realm, it has struggled to become a country radio breakout. It’s a shame in that regard because the song is as good as anything else that typically gets to the mainstream. The chorus is arena-ready and the melody is engaging. The album’s opening song (Co-Written by FGL’s Tyler and Brian and one of four songs not written by Kane Brown) is a smart opening track. It’s about a guy who wants the folks where he comes from to be proud of what he does. It feels like a hit and likely will be with fans while “Learning,” a song written with frequent Hunter Hayes collaborator Sam Ellis and Blake Anthony Carter, has a Colt Ford-like vibe with the spoken (rapped) verses and a very twangy chorus. To describe Kane Brown’s sound is a little hard except to say that he’s a blend of Brantley Gilbert, Sam Hunt, Chris Young, Drake and Colt Ford and that makes for a unique artist which is why fans have clamored to him. “Pull It Off” is a perfect example of this with his Gilbert-like strut while Cold Spot is a song which showcases how much pull the newcomer has as a writer to be able to write with Tom Douglas and Allen Shamblin, the team behind “The House That Built Me.” This one has a similar nostalgic vibe and honestly, this should be the second single from this project. This is one radio should eat up. Chris Young, co-wrote “Comeback” and it’s a nice mid-tempo ballad with hit potential. Closer “Grandaddy’s Chair” is a sweet, honest song honoring the man who made Kane the man he is. It’s the kind of country music that has been around for a long time. Sentimental to some, honest and thankful to most others. The second half of Kane Brown is stronger than the first half with better hooks and lyrics but that doesn’t mean the entire 11 track album isn’t surprising because it really is. Kane Brown, who basically took Nashville by surprise, has cultivated a debut album which blends quite a few flavors but there’s no mistaking Kane Brown is a country artist. The album is a strong mainstream start to an already promising career. (Matt Bjorke/Roughstock.com)

Das komplette Tracklisting:

1. Hometown - 3:24
2. What Ifs - 3:08
3. Learning - 3:22
4. Thunder in the Rain - 2:44
5. Pull It Off - 2:59
6. Cold Spot - 3:37
7. Ain't No Stopping Us Now - 3:02
8. Comeback - 2:45
9. Rockstars - 3:20
12. Better Place - 3:42
11. Granddaddy's Chair - 3:47

Art-Nr.: 9340
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 14,90

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Bryan, Luke - what makes you country [2017]
Sein unglaublicher Erfolg geht weiter. Das neue Album von Luke Bryan hat bereits kurz nach Erscheinen wieder die Top-Position der Nashville-Charts erklommen. Was er momentan anpackt, wird ein Riesenerfolg. Kaum ein anderer bringt die neue, junge New Country-Generation so rüber, wie Luke Bryan. Dazu gibt es nicht wenige "Kritiker", die "What makes you country" auch als sein bislang bestes Werk bezeichnen. Also: hier passt alles! 15 neue, ganz starke Songs von Luke Bryan.

Hier ein Original U.S.-Review:

Opening up with "What Makes You Country," the album's title track, Luke Bryan immediately showcases why he became one of the most-popular stars of the past decade in country music.: he sings songs about himself, his friends and his audience. This one, an anthem which is to likely be both a radio hit and the opener of his concerts for years to come, also speaks of becoming who you are and that you don’t have to be born and bred or even from the rural areas to be “country.” “Out Of Nowhere Girl” and “Bad Lovers” both speak of dalliances with the opposite sex while “Sunrise, Sunburn, Sunset” is the kind of song that stirs up memories of good summer days gone. “Hungover In A Hotel Room” (which features Emily Weisbend in a supporting vocal role) has a moody melody as it describes a couple in the midst of a morning after a night of bliss.
While there’s plenty of relationship-related music and good times to be had here, there are a couple of songs which will make you stand up and pay attention to What Makes You Country. The first of those is “Most People Are Good,” a song which is subdued in approach but is basically a song that believes in the beauty of humanity and that we all, in the end, really want the same things out of our lives. It also manages to be inspirational without feeling preachy (Though I suspect people WILL call it that when it becomes another hit single for Luke Bryan). “Land Of A Million Songs” is another special moment on the record. It’s basically how and why a musician does what they do. “Win Life” is another attention grabbing moment on What Makes You Country as it describes the need to living to work instead of working to live. Another interesting, attention-grabbing moment is “Drinking Again,” about as simple a sing-a-long song as an artist can have in their repertoire.
Because they have to and it’s part of evert fiber of their being. “Like You Say You Do” is a pleasant song with the kind of details that feel like a cousin to “Jesse’s Girl.” “Hooked On It” is about getting addicted to the music (and works as a cousin to “What Makes You Country”). Interestingly, “Light It Up,” the lead single from this project, is probably the least likable song on the record. So, in a record that is over 51 minutes long and fifteen songs deep, that’s saying something. It remains to be seen if What Makes You Country will become the best recording of his career but it certainly is something fans new and old will find more than enough to like on it. (Matt Bjorke / Roughstock.com)

Das komplette Tracklisting:

1. What Makes You Country - 3:55
2. Out Of Nowhere Girl - 3:38
3. Light It Up - 2:57
4. Most People Are Good - 3:41
5. Sunrise, Sunburn, Sunset - 3:36
6. Bad Lovers - 3:36
7. Drinking Again - 3:45
8. Land Of A Million Songs - 3:31
9. Like You Say You Do - 3:40
10. Hooked On It - 3:17
11. She's A Hot One - 2:55
12. Hungover In A Hotel Room - 3:54
13. Pick It Up - 2:59
14. Driving This Thing - 2:56
15. Win Life

Art-Nr.: 9562
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 15,90

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Bush, Sam - storyman [2016]
Die Bluegrass-/Americana-Institution,New Grass Revival- und Nash Ramblers-Ikone, der König der Mandoline und Fiddle, der große Sam Bush, begeistert die Americana- und Alternate Country-Welt mit einem neuen, fantastischen Album. Welch ein wundervolles Teil! Herrliche, großartige, frische Songs, präsentiert auf einem bluegrassigen Fundament, allerdings mit Drummer und elektrischen Momenten, zwischen elter New Grass Revival-Kompatibilität, astreinem Country, Alternate Country und rootsigem Americana, eingepackt in tolle Melodien und Arrangements - natürlich, unverbraucht, in höchster musikalischer Qualität. Eindrucksvoll auch, wie hervorragend Sam Bush singt. Gäste sind u. a. Emmylou Harris, Deborah Holland, Alison Krauss und Steve Fishell an der Pedal Steel. Die Stücke bleiben prächtig hängen und gehen zum Teil wunderbar ins Ohr. Kommt mit einem sehr schönen, reich bebilderten, alle Texte umfassenden, 20-seitigen Booklet. Ein absolutes Fest für die "grassige" Alternate Country-, Roots-, und Americana-Fraktion!

Die offizielle Produktinformation im Original:

Sam Bush has long since established himself as roots royalty. His highly anticipated new album, Storyman, is a freewheeling collection that gleefully picks and chooses from jazz, folk, blues, reggae, country swing, and bluegrass to create a jubilant noise only classifiable as the Sam Bush sound. Many of the songs are stories several of them true and the legendary mandolin and fiddle player co-wrote every one of them with friends including Guy Clark, Emmylou Harris, Jon Randall Stewart, Jeff Black, and others. Instead of kicking back and soaking up honors, such as an Americana Music Association Lifetime Achievement Award and his suite of Grammys and International Bluegrass Music Association trophies, Storyman proves once again that the Father of Newgrass and King of Telluride will never stops striving to create something new. I m hoping it just kind of flows for people and makes them go, Hey! It s a Sam record. It sounds like Sam and the band, Bush says of the album. But for the first time ever, I also find myself thinking, I hope you enjoy the stories. It s my singer-songwriter record.

Das komplette Tracklisting:

1. Play By Your Own Rules - 3:31
2. Everything Is Possible - 4:01
3. Transcendental Meditation Blues - 3:53
4. Greenbrier - 4:48
5. Lefty's Song - 3:57
6. Carcinoma Blues - 3:56
7. Bowling Green - 3:32
8. Handmics Killed Country Music - 3:42
9. Where's My Love - 5:53
10. It's Not What You Think - 3:54
11. I Just Wanna Feel Something - 5:35

Art-Nr.: 9204
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 16,90

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Campbell, Craig - same [2011]
Ein absoluter Leckerbissen für die Freunde traditioneller, reiner Countrymusic. Wie letztes Jahr Easton Corbin, macht sich nun auch Craig Campbell auf, die Fahnen lupenreiner, unverfälschter Countrymusic in Nashville hoch zu halten. Wundervolle Songs, tolle Melodien, locker, leicht, natürlich, eine prächtige Countrystimme - Countryherz, was willst Du mehr. Der aus Lyons/Georgia stammende junge Mann ist mit vollem Herzen Countrymusiker, der die Szene "von der Pike auf" mitbekommen hat. In einem von Gospelmusik geprägten Zuhause spielte er viele Jahre lang Klavier in der Baptistkirche seiner Mutter. Von diesem Zeitpunkt an entwickelte er parallel seine Liebe zur Countrymusic, denn die Grenzen zwischen Gospel und Country, gerade in den Südstaaten der USA, sind oft fließend. Vor allen Dingen die Gospel-und Southern-inspirierten Sachen von Travis Tritt hatten es ihm angetan, den er heute als einen seiner größten Einflüsse bezeichnet. Im Jahre 2002 siedelte Campbell nach Nashville über, wo er sich schnell in der lokale Countryszene etablierte. Er ergatterte ein regelmäßig wiederkehrendes Engagement in einem der berühmtesten Clubs am historischen Lower Broadway in Nashville, "The Stage", wo er jede Menge Sessions mit bekannten Größen spielte. Als Begleitung für seine Auftritte diente oft die Band des mittlerweile ebenfalls sehr angesagten Luke Bryan., der ihn immer wieder animierte sein großes Potenzial auch in eigenes Material zu investieren. Enes Tages sah einer der besten und bekanntesten Produzenten Nashville's für traditionelle Countrymusic, Alan Jackson's Haus- und Hofproduzent Keith Stegall, einen von Campbell's Auftritten im "The Stage", was Craig's Karriere unmittelbar ins Rollen brachte. Stegall war auf der Stelle begeistert von den immensen Fähigkeiten des jungen Neo-Traditionalisten und verschaffte ihm nicht nur einen Labelvertrag, sondern übernahm auch gleich die Produktion seines fantastischen Debutalbums. Was Cambell den Countryfans offeriert, ist allerfeinste, reine, traditionelle Countrymusic, zeitlos schön und doch so aktuell. Auf dem Bild des Album-Backcovers liegt er vollkommen relaxt und lässig auf der Ladefläche seines Pickup-Trucks, die Beibe übereinander geschlagen, den Cowboyhut ins Gesicht gezogen, und "lässt den lieben Gitt einen guten Mann sein". Genau diese unbeschwerte Mentalität, diese ländliche Lebensweise transportiert er in seine vorzügliche Musik. Herrliche Steelgitarren, Fiddles und lockeres E-Gitarren-Picking bilden einen wunderbaren Rahmen für das ohne Ausnahme hervorragende Songmaterial. Immerhin 9 der 11 Songs hat Campbell mitgeschrieben, zum Teil mit namhaften Co-Autoren wie Keith Stegall, Tim Nichols, Carson Chamberlain und Lance Miller. Seinen Bezug zu Travis Tritt haben wir bereits erwähnt. Der ist auch spürbar, vor allem in dem lockeren Southern-Charme, den Campbell immer wieder einbringt, doch im Grunde genommen liegt seine Art der Countrymusic näher an solchen Traditionalisten wie George Strait, George Jones, Tracy Byrd und vor allen Dingen Alan Jackson, dem er auch stimmlich recht nahe kommt. Ein weiteres Plus: Produzent Stegall hat ihm die "Créme de la Créme" von Nashville's Studioartisten zur Seite gesetellt: Eddy Bayers: Drums, Brent Mason: Electric guitar, Paul Franlin: Steel, Stuart Duncan: Fiddle & Mandolin, Glenn Worf: Bass, John Hobbs und Gary Prim: Piano, Bobby Terry: Acoustic guitar und John Wesley Ryles: Background Vocals. Keine Frage, dieses Album ist so etwas wie ein "Muss" für alle Liebhaber traditioneller, reiner Countrymusic. 'It's traditional, back-to-basics, true country music", sagt Campbell und ergänzt:."It's what I am. I can't be anything else". Dem ist nichts hinzuzufügen. Ein wunderbares Album!

Die komplette Songliste:

1 I Bought It - 2:46   
2 Family Man - 3:40   
3 When I Get It - 3:19   
4 My Little Cowboy - 4:02   
5 Makes You Wanna Sang - 2:52   
6 That Going Away Look (About Her) - 3:04   
7 Fish - 2:49   
8 Chillaxin' - 3:20   
9 That's Music to Me - 3:30   
10 You Probably Ain't - 4:02   
11 All Night to Get There - 3:31

Art-Nr.: 7327
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 16,90

In folgende Titel können Sie reinhören:
I bought it
Makes you wanna sang
Fish
Chillaxin'
That's music to me
All night to get there

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Carpenter, Mary Chapin - ashes and roses [2012]
"Ashes and roses" bietet eine Ansammlung von 13 exzellenten, neuen Songs im typischen Stil dieser fantastischen Singer-Songwriterin, zwischen Americana und Country - und zwar auf höchstem Nieveau. "Soul companion" beispielsweise ist ein großartiges Duett mit James Taylor. Wunderbar!

Hier ein U.S.-Review im Original-Wortlaut:

On Ashes and Roses, songwriter Mary Chapin Carpenter offers the most confessional record of her career. Always a storyteller whose protagonists could be seamlessly interchanged with the first person, that distance shrinks here; all that's left is the songwriter confronting herself in a mirror. Carpenter examines heartbreak, grief, loneliness, yearning, acceptance, gratitude, and new possibility with a gaze brimming with self-respect and compassion. Musically, the sound here is akin to 2010's Age of Miracles, but perhaps even softer. "Soul Companion," the single that features James Taylor, is not necessarily indicative of this set's sound, nor its greatest strength. The rootsy fingerpicking on "What to Keep and What to Throw Away" is a deep reflection on the one-foot-in-front-of-the-other kind of collecting oneself after the end of a relationship that leaves one devastated: "...These are your instructions/When grace has left you stranded/When you are lost and wounded/Bleeding and abandoned." The personal cost of betrayal is poetically and poignantly rendered in "The Swords We Carried." Carpenter's language, both musical and lyrical, though rich in melody, color, texture, poetic metaphors, and images, never flinches from looking at her subject squarely. With its shimmering mandolins, B-3, and acoustic guitars, "Chasing What's Already Gone" looks through the past to make sense of the present. She gets there, but there's a cost; she willingly pays it and holds herself accountable at the song's conclusion: "Ashes and roses and hearts that break/I tried so hard to be strong/It may be my worst but not my first mistake/Chasing what's already gone." This is the sound of the human heart at a time of reckoning, embracing its brokenness with gentleness. The embrace of grief is observed tenderly on "Learning the World," where it "rides quietly on the passenger side." But there is another side here, too; it's expressed in the resilience in "Don't Need Much to Be Happy," the yearning in "Old Love," and the acceptance that possibility awaits in "New Year's Day." Carpenter is accompanied only by producer Matt Rollings' piano on the closer, "Jericho," where she speaks to an Other about how long it will take to get to know her and how worth it that will be. Ashes and Roses is devastating in its quiet yet dignified and fierce vulnerability. Its courage makes it something singularly beautiful. Musically and lyrically, it is likely to be among her most enduring recordings. ~ Thom Jurek, Rovi

Das komplette Tracklisting:

1. Transcendental Reunion - 4:48
2. What to Keep and What to Throw Away - 4:34
3. The Swords We Carried - 4:06
4. Another Home - 4:29
5. Chasing What's Already Gone - 4:59
6. Learning the World - 4:29
7. I Tried Going West - 4:17
8. Don't Need Much to Be Happy - 4:23
9. Soul Companion - 4:02
10. Old Love - 4:46
11. New Year's Day - 4:55
12. Fading Away - 4:21
13. Jericho - 4:03

Art-Nr.: 7823
Gruppe: Musik || Sparte: Rock; Country
Status: Programm || Typ: CD || Preis: € 15,90

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

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

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

THE ONE THAT GOT AWAY

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

I HAD ME A GIRL

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

SAME OLD SAME OLD

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

DUST TO DUST

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

EAVESDROP

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

DEVIL'S BACKBONE

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

FROM THIS VALLEY

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

TELL MAMA

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

OH HENRY

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

DISARM

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

SACRED HEART

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

D'ARLINE

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

Das komplette Tracklisting:

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

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

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

Ein informatives U.S.-Review im Original:

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

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

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

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

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

Die offizielle Produktbeschreibung:

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

Hier noch ein begeistertes U.S-Review:

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

Das komplette Tracklisting:

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

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

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

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

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

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

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

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

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

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

Die komplette Songliste:

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

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

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Hayes, Hunter - same [2011]
Was blickt uns da auf dem Cover nur für ein jungenhaftes Mädchenschwarmgesicht entgegen? Auf den ersten Blick wirkt der 20-jährige aus Breaux Bridge/Louisiana wie das männliche Pendant zu Taylor Swift, wie ein "unschuldiger, grüner Junge", der sich anschickt, die Herzen der Teenager zu erobern. Vielleicht gelingt ihm das sogar auch, doch hinter diesem Hunter Hayes steckt weit mehr. Fans und Kritiker gleichermassen preisen ihn als ein Mega-Talent mit dem Potenzial zum Superstar. Und in der Tat:, was der Bursche drauf hat, ist aussergewöhnlich. Er ist ein klasse Sänger, hat sein Debutalbum zusammen mit Star-Prouzent Dann Huff co-produziert, alle Songs in Kooperation mit anderen, bekannten Songwritern (z. B. Troy Verges, Liz Rose, Katrina Elam, Rivers Rutherford, Andrew Dorff) mitgeschrieben und, das ist wohl einzigartig in Nashville, sämtliche Instrumente seines Albums selbst gespielt. Ja, die berühmte Nashville-Studiogarde fehlt komplett. Hayes ist ein begnadeter Multi-Instrmentalist, der einfach alles spielt, was er in die Finger bekommt: Acoustic Gitarre, E-Gitarre, Slide-Gitarre, Mandoline, Banjo, Pedal Steel, Bazooki, Sitar, Keyboards aller Art, Akkordeon, Bass, Drums - all das kann er bedienen, und zwar so gut, dass er wirklich auf jeden weiteren Musiker verzichtet hat. Verrückt! Beeindruckend! Die Musik, der sich Hunter Hayes verschrieben hat, ist von durchweg erstklassigen Songs geprägter, eingängiger, hervorragend performter, sehr zeitgemässer Mainstream-New Country, Country-Pop, der im weitesten Sinne auf das Terrain zwischen Keith Urban, Lady Antebellum, Rascal Flatts und einem Country-orientierten John Mayer zielt. Im Zusammenhang mit Rascal Flatts tauchte der Name Hunter Hayes im übrigen erstmals im Rampenlicht einer großen "Countrybühne" auf, nämlich als Co-Autor des Songs "Play" von deren Album "Nothing like this". Obwohl das oft sehr poppig ist, sind die Country-spezifischen Elemente stets präsent, allein schon durch die Einbindung solch typischer Instrumente wie Steelguitar, Mandoline, Dobro und ähnliches, wie auch den entsprechenden Grooves. Zu den Highlights zählen solche Songs wie beispielsweise das herrliche, locker und flockig dahin fliessende, überaus melodische, mit toller Acoustic Gitarre, Mandoline und Dobro inszenierte, entspannte "If you told me to", die großartige, sehr emotionale, mit viel Soul dargebotene Ballade "Rainy season", die Hayes mit einem exzellenten E-Gitarren-Solo veredelt, das eindrucksvoll sein aussergewöhnliches Können auch an den 6 Saiten demonstriert, oder der rhythmische, flotte, knackige Opener "Storm warning", eine peppige, sehr melodische, geradezu "sonnige" und viel Gute Laune verbreitende New Country-Nummer, die gerade ansetzt, die Billboard Country Singles-Charts kräftig durcheinander zu wirbeln. Aber, wie gesagt, das ganze Album steckt voller großartiger Songs, die nahezu alle mit immensem Chart-Potenzial ausgestattet sind. Also, keine Frage, mit diesem Hunter Hayes erscheint ein junger Mann auf der Bildfläche, dem einiges zuzutrauen ist. Zweifellos ein Könner! Gut möglich, dass Hunter Hayes bald in aller Munde ist. Das Album jedenfalls ist ein Hit!

Die komplette Tracklist:

1. Storm Warning - 3:59
2. Wanted - 3:49
3. If You Told Me To - 3:26
4. Love Makes Me - 3:20
5. Faith To Fall Back On - 3:08
6. Somebody's Heartbreak - 3:49
7. Rainy Season - 5:08
8. Cry With You - 3:48
9. Everybody's Got Somebody But Me - 2:40
10. What You Gonna Do - 4:48
11. More Than I Should - 3:15
12. All You Ever - 3:36

Art-Nr.: 7597
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 16,90

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Hayes, Hunter - same (encore) ~ deluxe edition [2013]
Deluxe Edition! Nashville's neues Mega-Talent (Sänger, Songwriter, Multiinstrumentalist) bringt sein super erfolgreiches Nashville-Debut aus dem Jahre 2011 nun noch einmal als erweiterte Deluxe Edition auf den Markt. Enthalten sind alle Tracks der ursprünglichen Veröffentlichung, drei davon sind neu eingespielt ("Everybody's got somebody but me" mit Gast Jason Mraz, "What you gonna do" - jetzt als Duett mit Ashley Monroe und "More than I should"), plus 5 brandneue Tracks, darunter sein neuer Riesen-Hit "I want crazy" (ist bereits in den Top 3 der U. S. Billboard Country Singles Charts mit Tendenz Richtung Nr. 1). Das neue Material ist große Klasse, also absolut lohnenswert!

Das komplette Tracklisting:

1. Storm Warning - 3:59
2. Wanted - 3:49
3. If You Told Me To - 3:26
4. Love Makes Me - 3:20
5. Faith to Fall Back On - 3:08
6. Somebody's Heartbreak - 3:49
7. Rainy Season - 5:08
8. Cry With You - 3:48
9. Everybody's Got Somebody But Me - 2:40 (feat. Jason Mraz) [Encore]
10. What You Gonna Do - 5:38 (Duet With Ashley Monroe) [Encore]
11. More Than I Should - 3:23 (Encore)
12. All You Ever - 3:36
13. In a Song - 4:20 (Encore)
14. I Want Crazy - 3:58 (Encore)
15. A Thing About You - 3:20 (Encore)
16. Better Than This - 3:33 (Encore)
17. Light Me Up - 4:06 (Encore)

Art-Nr.: 8224
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 17,90

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Musgraves, Kacey - golden hour [2018]
Drittes Album der großartigen Kacey Musgraves! MIt diesem, erneut hervorragenden Werk, gelingt es Kacey unter Beibehaltung aller Country-Indikatoren, ihren Sound ein wenig zu erweitern, mit folkig-poppigen Strömungen anzureichern, ohne dabei auch nur ansatzweise im üblichen Nashville Countrypop-Kitsch zu versinken. Ganz im Gegenteil. Was wir hören, sind 13 wundervolle Songperlen mit sehr feinen Melodien, meist gehalten in einem entspannten, lockeren Ambiente, geprägt von exzellenten Songwriter-Qualitäten (bei allen Tracks ist Kacey kompositorisch involviert). Damit erinnert sie durchaus ein wenig an einige ihrer großen Vorbilder, wie etwa Carole King, Emmylou Harris und auch Dolly Parton. Die Songs fangen den Zuhörer regelrecht ein. Kein Frage, auch mit Album Nr. 3 geht die Erfolgsgeschichte von Kacey Musgraves auf höchstem Level weiter. "Just beautiful" - einfach schön!

Hier noch ein Original U.S.-Review:

It’d have been easy for Kacey Musgraves to continue to make the same kind of albums full of clever wordplay and traditional country influenced songs but for her to continue to grow as an artist, she looked to stalwarts like Carole King, John Hiatt, Emmylou Harris and Dolly Parton to craft Golden Hour, a record that is 100% Kacey but mostly unlike anything we’ve heard from her before. And this is a good thing.
The opening tracks “Slow Burn” and “Lonely Weekend” showcase Musgraves blending all sorts of sonic influences that makes Golden Hour both contemporary and classic 70s singer/songwriter all at the same time. Songwriter/producers Ian Fitchuk (Drew Holcomb, Sean McConnell) and Daniel Tashian (Josh Turner, Patty Griffin) bring those indie influences into the Musgraves stew but they’ve made everything better by their presence. Innovative production choices ("Oh, What A World"), disco throwbacks (“High Horse”) and elegant, lyrically rich ballads (“Rainbow”) showcase the diversity. This isn’t to say that Musgraves doesn’t know she’s releasing a record on a Nashville-based label (MCA Nashville) as she’s still writing with the same writer collective that made up the majority of Same Trailer, Different Park and Pageant Material on half of the album's tracks. The warmest songs on the record include “Butterflies,” “Wonder Woman,” and “Rainbow.” Each song co-written with those A-list songwriters.
There’s clearly an intent by Musgraves, Fitchuk, and Tashian to harness the golden-soaked memories of the 70s as if they were married to Dolly Parton or Lee Ann Womack vocal on songs like “Love Is A Wild Thing,” a beautiful, somewhat melancholic ballad about finding love when you least expect it. “Happy & Sad” is as song with beautiful honesty in the vocal and lyrics as Musgraves clearly wasn’t comfortable about falling in love (with her new husband, singer/songwriter Ruston Kelly). She had built walls to prevent that kind of love and he somehow knocked them out.
There ARE some potential country radio singles on this record, if radio will even play them. I could see “Velvet Elvis” being a radio ditty while “Wonder Woman,” “Butterflies” and “Lonely Weekend” are all worthy potential mainstream country radio hits but Musgraves (who has constantly challenged mainstream country radio with progressive lyrics and a defiant attitude towards their lack of support with female artists). “High Horse” is the best Katy Perry song Katy Perry never wrote, with a disco pop feel, a song which could be a pop radio hit if given a chance and it’s practically begging for a dance club remix for the dance charts and future Drag Queen performances. The closing pair of tunes in “Golden Hour” and “Rainbow” (a McCartney-like song which is waiting to be synched to a film scene and soundtrack) showcase this record well and truly make the album one of the best I’ve heard in the past couple of years.
If you’re willing to sit and digest Golden Hour, you’ll consistently be surprised and delighted by Golden Hour. To me, it’s the best album of Kacey Musgrave’s career to date.
(Matt Bjorke / Roughstock)

Das komplette Tracklisting:

1. Slow Burn - 4:06
2. Lonely Weekend - 3:46
3. Butterflies - 3:39
4. Oh, What A World - 4:01
5. Mother - 1:18
6. Love Is A Wild Thing - 4:16
7. Space Cowboy - 3:36
8. Happy & Sad - 4:03
9. Velvet Elvis - 2:34
10. Wonder Woman - 4:00
11. High Horse - 3:33
12. Golden Hour - 3:18
13. Rainbow - 3:34

Art-Nr.: 9603
Gruppe: Musik || Sparte: Rock
Status: Neuheit || Typ: CD || Preis: € 15,90

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