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

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

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

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

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

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

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

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

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

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

John Lynskey
Hittin' the Note Magazine

Die komplette Setlist:

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

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

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

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Allman Brothers Band, The - stand back: the anthology [2004]
2 CD-Set! Die Allman Brothers gelten unbestritten als die Pioniere des Southern Rocks, ohne deren Eindluß sich diese Musik wohl hätte nie so entwickeln können, wie sie es tat. Zum einen erlebt dieses Genre momentan eine Art Re-Vitalisierung, zum anderen, auch das bestätigt diese These, agieren die Allman Brothers zur Zeit so lebendig und frisch, wie schon lange nicht mehr. Ein passender Zeitpunkt also für die Veröffentllichung einer neuen Anthology, und zwar der ersten, die ihre komplette, 35-jährige, alle Labels umfassende Karriere abhandelt, vom 1969iger Debut bis zum aktuellen Studiowerk "Hittin' the note"! Die erste CD handelt die frühen Jahre, bis 1972 ab, die zweite CD den Rest bis zur Gegenwart! Sehr gut ausgewählte Titelauswahl von insgesamt 32 Songs mit einer Spielzeit von deutlich über 2 1/2 Stunden! Ein Auszug der Tracklist: "It's not my cross to bear", "Trouble no more", "Dreams", "Revival", "Midnight rider", "Hoochie Coochie man", Melissa", "Stand back", "Blue sky", "Wasted words", "Ramblin' man", "Southbound", "Can't lose what you never had", "Crazy love", "Hell & high water", "Seven turns", "End of the line", "High cost of low living" und viele andere! Alle Songs sind "newly remastered"! Enthält ein 24-seitiges Booklet mit interessanten Liner-Notes zur Band-Geschichte von Scott Schinder! Klasse Teil! Für die Fans sowieso Pflicht, und für die, die es noch werden wollen gibt es keinen idealeren Einstieg!

Art-Nr.: 2483
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 22,90

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Allman Brothers Band, The - the fox box [2017]
8 CD-Set! Tolle Veröffentlichung für die Jamrock/Southernrock-Fraktion im Allgemeinen, vor allem aber die ABB-Jünger, gerade auch unter dem Eindruck des am 27. Mai verstorbenen, unvergesslichen Gregg Allman. Von der gefeierten 2004er Sommertour der Allman Brothers erscheint nun ganz offiziell über das Allmans-eigene "Peach Records"-Label eine spezielle "Atlanta-Box", die sogenannte "Fox Box", mit allen drei kompletten Shows der Band vom 24., 25., und 26. September 2004 aus dem historischen Fox Theatre von Atlanta/Georgia. Die jeweils rund 3-stündigen Shows zeigen einmal mehr, in welch großartiger Verfassung die Allmans mit ihren beiden Gitarristen Warren Haynes und Derek Trucks zu dieser Zeit waren. Und die Setlists... - einfach irre! Sie spielten an diesen Abenden 53 verschiedene Songs, teils ungemein seltene. Nur "Dreams" spielten sie an allen 3 Tagen, ansonsten gab es keinerlei Überschneidungen. Am ersten Tag gsb es beispielsweise großartige Versionen von "Midnight rider", "Worried down the blues", "You don't love me", "Hot 'Lanta", "Black hearted woman" und ein tolles Cover von Grateful Dead's "Franklin's tower"! Zudem erlebten die Fans einen Gastauftritt des früheren Gitarristen Jack Pearson bei "Dreams", "Mountain jam" und "Southbound"! Der zweite Tag war noch besser: Zum ersten Mal, seit Dickey Betts nicht mehr dabei war, spielten sie "Blue sky" und "Les brers in a monor"! Dazu Tracks wie "Soulshine", "Stand back", "Good clean fun", "Old before my time", "Woman across the river" und eine Coverversion des alten Klassikers "The night they drove old dixie down". Susan Tedeschi sang als Gast auf "Don't think twice" mit und in der Zugabe brachten sie eine unwiderstehliche Version von Eric Clapton's "Layla"! Tag 3 setzte nochmal einen drauf mit Titeln wie "Every hungry woman", "Done somebody wrong", "44 Blues", "End of the line", einer 12-Minuten Version von "Hoochie Coochie man", "Stormy Monday", "I walk in gilded splinters", "Elizabeth Reed", usw.! Insgesamt 9 Stunden Allman Brothers live mit fantastischem Material. Ein wahres Fest für die Fans. Diese Shows erschienen damals vor fast 11 Jahren schon mal als CD-Rs im Rahmen der legendären, raren "Instant Live"-Reihe zum Kauf direkt nach den Shows oder über den Band-eigenen "Hittin' The Note"-Webshop, doch der Sound ist jetzt nach einem ordentlichen Remastering noch einmal deutlich besser und damit vom Allerfeinsten. Drei ganz besondere, fantastische Shows der Allman Brothers!

Die kompletten Setlists:

Disc 1
1. Mountain Jam
2. Trouble No More
3. Midnight Rider
4. Wasted Words
5. Worried Down With The Blues
6. You Don't Love Me
7. Ain't Wastin' Time No More

Disc 2
1. Rockin' Horse
2. Hot 'Lanta
3. Melissa
4. Come And Go Blues
5. Can't Love What You Never Had
6. Why Does Love Got To Be So Bad?
7. Franklin's Tower

Disc 3
1. Black Hearted Woman
2. Dreams (with Jack Pearson)
3. Mountain Jam (reprise) (with Jack Pearson)
4. Southbound (with Jack Pearson)

Disc 1
1. Les Brers (Intro)-Don't Want You No More / It's Not My Cross To Bear
2. Statesboro Blues
3. Stand Back
4. Who's Been Talking
5. Soulshine
6. Good Clean Fun
7. Old Before My Time
8. Woman Across The River
9. Instrumental Illness

Disc 2
1. The Night They Drove Old Dixie Down
2. Leave My Blues At Home
3. Key To The Highway
4. Don't Think Twice, It's Alright (with Susan Tedeschi)
5. One Way Out (with Valor Trucks)
6. Blue Sky
7. Dreams
8. Les Brers In A Minor
9. Layla

Disc 1
1. Revival
2. Every Hungry Woman
3. Done Somebody Wrong
4. Hoochie Coochie Man
5. Desdemona
6. High Cost Of Low Living
7. 44 Blues
8. End Of The Line

Disc 2
1. Dreams
2. I Walk On Gilded Splinters
3. Stormy Monday
4. The Same Thing (with Rob Baracco)
5. In Memory Of Elizabeth Reed (with Rob Baracco)

Disc 3
1. In Memory Of Elizabeth Reed (cont'd, with Rob Baracco)
2. Don't Keep Me Wonderin'
3. No One To Run With
4. Whippin' Post

Art-Nr.: 9458
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 99,90

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Allman, Gregg - low country blues [2011]
Die Kritiker sind voll des Lobes! Kein neues Album der Allman Brothers, aber ein großartiges, neues Solo-Werk von Gregg Allman. Traditioneller, ursprünglicher, sehr authentischer Blues(rock), wobei die Blueskomponenten klar im Vordergrund stehen. Durch die Musik, wie sollte es auch anders sein, zieht eine herrliche Brise Southern-Soul, allein schon durch Gregg's unverwechselbaren Gesang. Und er ist prima bei Stimme. Eine beeindruckende, ja ganz starke Vorstellung des Ober-Allmans!

Hier der Kommentar von "Hittin' The Note" zu diesem Werk im Original:

Gregg Allman is one of the most iconic blues singers of all time, a certified rock star and member of the Rock and Roll Hall of Fame who has been the voice of the Allman Brothers Band for over four decades. T Bone Burnett is the most celebrated producer in music today, winning a Grammy for Alison Krauss and Robert Plant's collaboration Raising Sand and producing everybody from Elvis Costello to Elton John and Leon Russell. What do you get when you combine these two legendary talents?
The answer is Low Country Blues, the finest roots-blues record in years. With the help of T Bone's usual gang of master musicians, including a memorable turn on piano by New Orleans' own Dr. John, Gregg sings the blues as only he can, and Burnett captures the magic with the clarity and purity that have become his hallmark as a producer. Gregg's solo efforts in the past have tended to be more song-oriented and less jam-focused than the Allman Brothers Band, and this is no exception. The emphasis is on vibe and feel, with Gregg squarely in the spotlight where he belongs.
The bulk of Low Country Blues consists of classic blues tunes, all showcasing Gregg's signature vocals and B-3 work, but the album also features "Just Another Rider," a great new song Gregg co-wrote with Warren Haynes. This plaintive anthem picks up where "Midnight Rider" left off, continuing the mythology of the wandering, road-hardened gypsy that has always been a part of Allman's persona.
Of the blues tunes, standout tracks include a positively fierce version of Muddy Waters' "I Can't Be Satisfied," with Gregg wailing the blues. Other highlights are the rollicking "I Believe I'll Go Back Home," the R&B joy of "Please Accept My Love" and the brooding seven-minute version of "Rolling Stone" that closes the album, but one of the best things about Low Country Blues is how it all flows together into one piece of music. It's a true album as opposed to a collection of songs, and it's hard to pick favorites from this record without feeling like you're leaving something out. Words like "timeless" and "classic" get thrown around too lightly sometimes, but this album would have sounded great in 1960, it sounds great now, and it will still sound great in 2060.

Das komplette Tracklisting:

1 Floating Bridge - 4:45   
2 Little By Little - 2:45   
3 Devil Got My Woman - 4:52   
4 I Can't Be Satisfied - 3:31   
5 Blind Man - 3:46   
6 Just Another Rider - 5:39   
7 Please Accept My Love - 3:07   
8 I Believe I'll Go Back Home - 3:49   
9 Tears, Tears, Tears - 4:54   
10 My Love is Your Love - 4:14   
11 Checking On My Baby - 4:06   
12 Rolling Stone - 7:04

Art-Nr.: 7242
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 16,90

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Austin, Sherrie - followin' a feelin' [2001]
Die aparte Australierin, die uns 1997 mit "Innocent man" von ihrem ersten Album "Words" sogar in Deutschland einen "kleinen" Countryhit bescherte, erfreut uns jetzt endlich mit ihrem dritten US-Album! Es ist wirklich erfreulich, denn sie legt im Vergleich zu ihrem etwas schwächelnden zweiten Werk, wieder eine Schippe drauf. Klasse, moderner New Country, wie er in Nashville momentan sehr angesagt ist, mit poppigen Elementen. Doch der Country-Faktor behält eindeutig das Oberwasser. Paßt in etwa weitestgehend in die Schiene Sara Evans, Lee Ann Womack usw.! Überwiegend flotte, sehr knackige Songs (bis auf einen ist sie überall zumindest als Co-Autorin mit für das gute Songwriting verantwortlich), recht facettenreich, von rockig-poppig, über schöne Midtempo-Tracks, auch mal einem jazzigen, lustigen, Country-Swing ("Somethin' missin' in the kissin') bis natürlich auch zu der ein oder anderen Ballade. Und ihre Stimme ist sowieso über jeden Zweifel erhaben: süß, klar, frech, kräftig - super! Mutig ist die eine Cover-Version, an die sie sich herangetraut hat, doch die ist bestens gelungen und zählt zu den Höhepunkten des Albums. Ihr glückt eine wirklich tolle, sehr moderne Version von Dolly Parton's Klassiker "Jolene"! Zudem hat Will Rambeaux an den Reglern eine feine, "satte" Produktion hinbekommen. Eine prima CD!

Art-Nr.: 1415
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 17,84

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Avett Brothers, The - live vol. four [2015]
CD & DVD-Set! Die gefeierten, einzigartigen Avett Brothers mit einem neuen, famosen Live CD-/DVD-Combo-Set! Mit dem großartigen "Live Vol. Four" setzen sie die Tradition ihrer regelmässigen Live-Veröffentlichungen fort, was auch mehr als Sinn macht, denn diese Roots-, Neo Folk-, Americana-Truppe aus North Carolina ist eine grandiose Live-Formation, die bis in die Jamrock-Szene hinein eine gewaltige Fanschar genießt. Bei dem hier vorliegenden Gig handelt es sich um die umwerfende Silvester-Show vom 31.12.2014 aus der prall gefüllten PNC-Arena in ihrer Heimatstadt Raleigh/North Carolina, die sowohl für die Musiker, als auch für das Publikum (sehr schön, wie zum Jahreswechsel Tausende von Luftballons in der Arena niedergehen) zu einem ausgelassenen Neujahrs-Happening avancierte. Enthält u. a. ein klasse Cover von Thin Lizzy's "The boys are back in town". Die Truppe ist in Höchstform - soundtechnisch und auch bildtechnisch bravourös eingefangen. Tolles Teil! Die DVD ist "code free" und somit auf jedem DVD-Player abspielbar.

Die komplette Setlist (CD und DVD identisch):

1. Intro/Feeling Good - 1.41
2. Satan Pulls the Strings - 7.39
3. Laundry Room - 6.00
4. Another is Waiting - 2.13
5. Shame - 4.17
6. Kick Drum Heart - 5.24
7. Rejects in the Attic - 6.31
8. Ten Thousand Words - 6.24
9. Talk On Indolence - 6.58
10. Auld Lang Syne - 4.47
11. The Boys are Back in Town - 5.25
12. Slight Figure of Speech - 7.00
13. I and Love and You - 5.34
14. Happy Trails - 2.29

Art-Nr.: 9064
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 21,90

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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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Church, Eric - chief [2011]
Was für ein interessantes, innovatives, prächtiges Country-/New Country-/Countryrock-Album! Genauso mutig wie erfrischend! Eric Church zeigt mit seinem dritten Album auf beeindruckende Art und Weise, wie man New Country-Musik mit neuen, nicht unbedingt alltäglichen Klangtupfern und Arrangements auf einen modernen, dem Jahre 2011 entsprechenden, zeitgemässen Level bringen kann, ohne die Grundwerte der Countrytraditionen zu ignorieren. Ein "abenteuerliche" (das meinen wir ausschließlich positiv) Gratwanderung, die er mit Bravour meistert. Tolle Sounds! Erinnert in seinem Mut und in seiner Experimintierfreudigkeit an die Anfänge von Big & Rich, nur nicht so verrückt. Das Songmaterial ist durchweg exzellent! Die Songs sind durchweg wunderbar melodisch und bleiben klasse hängen. Eine bärenstarke Vorstellung von Church!

Dazu noch ein Original-Statement:

"To some modern country artists, the words critics are using to describe Eric Church's third studio album may seem off-putting, but to the trailblazing mutineer and his equally passionate fans, the terms: "strange," "aggressive," "wild," and "rare," couldn't be more complimentary. Church's third studio album, Chief, has been buzzing as the most experiential, head-turning country album of the year."

Das komplette Tracklisting:

1 Creepin' - 3:52   
2 Drink in My Hand - 3:11   
3 Keep On - 2:38   
4 Like Jesus Does - 3:18   
5 Hungover & Hard Up - 2:53   
6 Homeboy - 3:47   
7 Country Music Jesus - 3:52   
8 Jack Daniels - 5:04   
9 Springsteen - 4:23   
10 I'm Gettin' Stoned - 4:02   
11 Over When It's Over - 2:39

Art-Nr.: 7490
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 15,90

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

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

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


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.


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.


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.


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.


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.


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.


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.


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.


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."


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.


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.


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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Cyrus, Billy Ray - definitive collection [2004]
1.Achy Breaky Heart - 3:23
2.Some Gave All - 4:05
3.Could've Been Me - 3:45
4.She's Not Cryin' Anymore - 3:26
5.Wher'm I Gonna Live - 3:28
6.In the Heart of a Woman - 3:59
7.Somebody New - 3:44
8.Words by Heart - 3:04
9.Talk Some - 4:14
10.Storm in the Heartland - 3:52
11.Deja Blue - 3:34
12.The Fastest Horse in a One Horse Town - 4:29
13.Trail of Tears - 3:39
14.Truth Is I Lied - 3:17
15.Three Little Words - 4:13
16.Harper Valley P.T.A. - 4:09
17.It's All the Same to Me - 4:22
18.Time for Letting Go - 4:10
19.Busy Man - 3:14
20.Give My Heart to You - 3:47
21.You Won't Be Lonely Now - 3:51

Art-Nr.: 4317
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 15,90

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Cyrus, Billy Ray - it won't be the last [1993]
1.In the Heart of a Woman - 4:00
2.Talk Some - 4:15
3.Somebody New - 3:45
4.Only Time Will Tell - 3:21
5.Ain't Your Dog No More - 2:28
6.Words by Heart - 3:07
7.It Won't Be the Last - 3:49
8.Throwin Stones - 3:40
9.Right Face Wrong Time - 3:27
10.Dreamin' in Color, Livin' in Black and White - 4:17
11.When I'm Gone - 3:01

Art-Nr.: 4319
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 8,90

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Cyrus, Billy Ray - trail of tears [1996]
1.Trail of Tears - 3:41
2.Truth Is I Lied - 3:18
3.Tenntucky - 2:23
4.Call Me Daddy - 5:08
5.Sing Me Back Home - 3:37
6.Three Little Words - 4:14
7.Harper Valley P.T.A. - 4:10
8.I Am Here Now - 3:28
9.Need a Little Help - 5:08
10.Should I Stay - 4:38
11.Crazy Mama - 3:00

Art-Nr.: 4316
Gruppe: Musik || Sparte: Country
Status: Programm || Typ: CD || Preis: € 8,90

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

Hier ein Original U.K.-Review:

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

Das komplette Tracklisting:

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

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

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

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

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

Das komplette Tracklisting:

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

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

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

Die Origianl-Produktbeschreibung:

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

Das komplette Tracklisting:

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

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

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