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Bentley, Dierks - the mountain [2018]
Dierks Bentley kommt mit einem neuen, fantastischen Album. Was dieser Mann auch abliefert, es sind stets absolute Highlights einer heute leider ansonsten oftmals allzu "fremdelnden" Nashville-Countrywelt. Klar, auch Bentley's Musik ist modern, muß sie ja auch sein. Doch er vergißt niemals seine Roots, niemals die Wurzeln der Countrymusic, niemals diese unwiderstehliche, natürliche Country-Frische. Hochklassige Songs, mal duraus ein wenig poppig, mal rockig, mal southern, mal dezent grassig - Dierks Bentley arbeitet sich genußvoll durch alle Facetten des New Country. Tolle Songs, tolle Melodien, tolle Musiker, tolle Arrangements - dieses Werk ist definitiv jetzt schon eines der Country-Highlights des Jahres.

Hier noch ein Original U.S.-Review:

Dierks Bentley returns to his roots for his ninth studio album, The Mountain. The singer wrote and recorded the project in Telluride, Colorado, after being inspired during a visit to Telluride Bluegrass Festival. As a result, the acoustic instrumentation on select songs coupled with Bentley’s heartfelt songwriting brings to mind elements of his 2010 release Up On the Ridge. All the while, Bentley’s authenticity shines through.
The Mountain kicks off with the standout “Burning Man,” featuring Brothers Osborne, where Bentley sings of life’s struggles and triumphs. Penned by Luke Dick and Bobby Pinson, Bentley makes the song uniquely his with slowed vocals and striking musicianship that is sure to come alive in the concert setting.
The heartfelt “Living” also strikes a chord as Bentley sings of how “some days you’re just breathing, just trying to break even” while others “your heart is pounding out of your chest.” This introspection is heard throughout the majority of The Mountain, particularly on album closer “How I’m Going Out.” Bentley’s vulnerability is further showcased on the striking ballad “My Religion,” as he sings of how loving a woman isn’t his decision but his religion. Meanwhile, “Son of The Sun” has the singer reflecting on his upbringing in Arizona and his need to embrace the desert air and escape the daily grind of life through nature.
On “Nothing On But the Stars,” Bentley switches gears as he looks back at the end of a relationship with the hope of one more night together. It’s here that his seductive vocals shine with distinct yearning while delicate percussion accompaniment and soaring guitar features further evoke the song’s message.
Bentley switches gears on “Goodbye in Telluride” with unique production and a rhythmic singing style. A positive spin on a breakup, while enjoying the snowcapped mountains of Colorado he senses his girlfriend won’t be around for much longer. Captivated by the setting, he begs her to wait a few more days before ending things so he can remember his visit fondly. “If you gotta let me go I’m gonna be alright / Just don’t tell me goodbye here in Telluride,” he croons on the infectious song.
While Bentley’s brief relocation to Colorado to write and produce The Mountain had an obvious impact on many of the songs, so does his family. His wife’s influence is felt on the heartfelt single “Woman, Amen” and within the equally memorable love song, “Stranger To Myself.” On the latter, he sings of how before Cassidy came along he was a stranger to himself. “Who I was back then is like an old forgotten song / You showed me who I am / You handed me the keys / And I unlocked the door to a better part of me,” he sings on the chorus.
One of the album’s highlights includes “Travelin’ Light,” featuring Brandi Carlile. The song’s acoustic instrumentation and Carlile’s captivating vocals pair well with Bentley’s. Sam Bush, Jerry Douglas, and Tim O’Brien also provide musical assistance on the song.
While Bentley has shown is ability at pushing genre lines over the years, on The Mountain he successfully returns to his roots. Having spent time in Colorado writing and recording the album, Bentley proves a master at finding inspiration within his surroundings and, as a result, transports the listener with him. Bentley’s talent as a songwriter and distinct musical influences merge throughout The Mountain for a memorable release that will no doubt serve as a timeless addition to his catalog.
(Annie Reuter/SoundsLikeNashville)

Das komplette Tracklisting:

1. Burning Man (feat. Brothers Osborne) - 3:58
2. The Mountain - 4:44
3. Living - 3:42
4. Woman, Amen - 2:59
5. You Can't Bring Me Down - 4:46
6. Nothing On But The Stars - 3:47
7. Goodbye In Telluride - 3:09
8. My Religion - 3:05
9. One Way - 3:37
10. Son Of The Sun - 3:10
11. Stranger To Myself - 3:24
12. Travelin' Light (feat. Brandi Carlile) - 3:14
13. How I'm Going Out - 3:38

Art-Nr.: 9639
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 15,90

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

Hier noch ein Original U.S.-Review:

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

Das komplette Tracklisting:

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

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

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Ray, Michael - amos [2018]
Nach den beachtlichen Erfolgen mit seinem Debut von 2015 legt der aus Florida stammende Michael Ray nun sein zweites Album vor, das ihn noch einmal deutlich weiterentwickelt und gereift zeigt. Nach seinem Großvater "Amos" betitelt, der ihn musikalisch stark geprägt hat, liefert Michael 11 großartige New Country-/Mainstream Country-Songs voller Nashville Hit-Potential ab, ohne dabei allerdings allzu sehr auf elektronischen und Country-fremden "Schnickschnack" zu setzen, was das Ganze äußerst angenehm macht. Nein, er setzt auf ehrliche, "handgemachte" New Country-Musik, die sehr erfrischend rüberkommt. Großen Anteil daran hat sicher auch Produzenten-Ikone Scott Hendricks (u. a. Blake Shelton, Brooks & Dunn, Alan Jackson, Restless Heart), der eben einen unverfälsxhten, zeitlosen, dabei alles andere als unmodernen, klaren Sound bevorzugt. Das Songmaterial reicht von rockigen Uptempo-Nummern bis hin zu wunderbaren, kraftvollen Balladen, immer geprägt von Michael's toller Stimmer, prächtig hängen bleibenden Strukturen und einer vielschichtigen, satten Instrumentierung. "Amos" ist die nächste Erfolgsgeschichte von Michael Ray. Bester, niveauvoller New Country im musikalischen Umfeld solcher Kollegen wie Blake Shelton, Jon Pardi, Chris Young, Justin Moore & Co..

Hier noch ein Original U.S.-Review:

There’s something noteworthy about what Michael Ray brings to the table on his new album, Amos. Maybe it’s the spirit of his beloved grandfather that Ray personifies in the album’s namesake, but Amos is more than just a body of country songs – it’s a symbol of Ray’s growth as an artist. Since Ray topped the chart in 2016 with “Think a Little Less,” he’s proven that Amos was worth the wait, drawing in one’s attention with his compelling voice and convincing delivery that makes for his most dynamic project to date.
The timing of the album’s summer release is a perfect match for the feel-good vibe that’s weaved throughout Amos’ spirit, as evidenced by the nostalgic “Summer Water,” lively “Fan Girl,” flirtatious “You’re On” and the irresistible “One That Got Away.” The 11-track project is slick all the way down from Ray’s polished vocals to the skillful production that blends authentic country elements with the genre-bending sounds that have broadened the country perspective.
With the lighthearted tracks comes a series of sentimental moments that demonstrate an emotional depth that diversifies Ray’s artistry. The moving “Her World or Mine” reflects this, as Ray delivers an emotive conviction that makes it the most captivating song on the record. Through both the pain-soaked lyrics and the honest passion in Ray’s vocals as he sings “One of us moved on, one of us got stuck, one of us sleeps good, one of us hates to face the night, just depends if you’re talking about her world or mine,” it feels as though your heart is breaking alongside his own, exhibiting a raw vulnerability that proves his artistic strength. Should he continue to offer songs in this vein, he could place himself in the category of the legends and timeless heartbreak songs he so admires. The album’s lead single “Get to You” also demonstrates Ray’s earnest side as he tries to reach out to a woman afraid to love, staying in tune with the heartfelt nature he portrays on his other romantic numbers.
While Ray has always been a promising vocalist, his voice truly glows on Amos, making each song come to life with his combination of strength and purity. But it’s the sense of conviction he brings to each track that shows just how much Ray has grown, seeming to truly envelope himself in every story portrayed in this compilation of songs.
Though Ray has already established himself in the genre with two chart-topping hits, Amos is bound to not only expand upon this success, but prove his stamina as a well-rounded artist capable of honesty and depth, two qualities crucial to the core of the genre he embraces whole-heartedly.
(Cillea Houghton / Sounds like Nashville)

Das komplette Tracklisting:

1. Fan Girl - 3:30
2. One That Got Away - 3:38
3. Summer Water - 3:06
4. Get To You - 3:11
5. Forget About It - 2:46
6. Her World Or Mine - 3:28
7. You're On - 3:04
8. I'm Gonna Miss You - 2:44
9. Dancing Forever - 3:34
10. Girl From Spring Break - 3:20
11. Drink One For Me - 3:28

Art-Nr.: 9637
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 14,90

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