Shotgun Rider, country från the Texas Panhandel (180331)

If Midland's ‘Drinkin' Problem’ helped reintroduce trad-country sounds to country radio, then Shotgun Rider are arriving at just the right time” Rolling Stone

 

Logan Samford och Anthony Enriquez träffades när de båda spelade i bandet Seven Mile South. Bandet splittrades men Samford och Enriquez fortsatte att spela tillsammans. Med Samfords sångröst och Enriquez talang för att skriva låtar och gitarrspel uppstod en speciell kemi, duon Shotgun Rider var född.

 

En första EP, Panhandle, släpptes i februari 2016 och nu har debutskivan Palo Duro utgiven av Thirty Tigers/Torrez Music Group kommit. Shotgun Riders musik påminner en del om gruppen Midlands debutskiva. Midland stod dessutom för ett av 2017 största genombrott och undrar om inte Shotgun Rider kommer aspirera på det epitetet när 2018 summeras.

 

Samford och Enriquez har sagt att deras största influenser är George Strait och Kings of Leon, och det märks när Palo Duro strömmar ur högtalaren. Uppväxta i norra Texas levererar de modern country  från det som kallas the Texas Panhandle (den nordligaste delen av Texas runt bl.a. staden Amarillo. Området kännetecknas av det öppna och platta landskapet. Genom området gick en del av den berömda Route 66)

 

Lyssna på

 

Palo Duro

https://open.spotify.com/album/7Itz6S4CkB1xRb7649weHa?si=RR_qTP4sR-eJvG-A8Z0taQ

 

https://www.shotgunridermusic.com/


Vivian Leva för traditionen med Old Time Country Music vidare (180330)

Allt som oftast förs diskussioner om hur countrymusiken utvecklas i olika riktningar. Samt att den traditionella musiken mer och mer hamnar i skuggan av mer lättlyssnad, radio- och hittorienterad kommersiell country. Vivian Leva står för något helt annat. Uppväxt i skuggan av bergskedjan Appalacherna och Blue Ridge Mountains, countrymusikens vagga, i staden Lexington, Virginia, spelar och sjunger hon musik som får alla anhängare av gammal traditionell country att slänga hattarna i luften, spotta ut tuggtobaken och ropa YIHAA! Hennes föräldrar försåg den unga Vivian med traditionell countrymusik under hela hennes uppväxt. Både i hemmet och genom att besöka folk- och countryfestivaler.

 

"When I was in elementary school and found out that all kids didn't spend their summers going to festivals too, I had no idea what they did with their lives. My parents were really into old-time music, but that's not the only thing they raised me on. I grew up listening to everything. It all influences my writing, from country to old-time to some of the newer pop stuff. My goal is to respect tradition while continuing to turn that influence into something new." har hon själv sagt om sin uppväxt och sitt låtskrivande (källa: RollingStone)

 

Halvvägs genom college har hon nu tagit en paus från studierna för att lägga all fokus på musiken. Hennes debutskiva Time Is Everything är till bredden fylld med “country waltzes, string-band workouts, honky-tonk shuffles and traditional twang”. Vivian Leva visar att hon, trots sin unga ålder, har en sällsynt god förmåga att skriva klassiska countrysånger. Att hon redan nu jämförs med stora neo-traditionalla låtskrivare som Gillian Welch och Sarah Jarosz säger en del om vad vi kan förvänta oss av Vivian Leva i framtiden.  

 

Lyssna på

 

Time is everything

 

 https://vivianleva.com


"A soundtrack for both the highway and the heartland” Szlachetka har släppt sitt andra album (180329)

A soundtrack for both the highway and the heartland… a collection of road-dog roots-rockers and Americana ballads inspired by the people (and places) he’s left behind in the rearview mirror.” Rolling Stone 

 

Matthew Szlachetka (uttalas SLA-HET-KA) har nyligen släppt sitt andra album, Heart of My Hometown. Szlachetka är född och uppväxt i New England men bor nu i Los Angeles, även om han ofta arbetar och skriver låtar i Nashville. Han var tidigare frontman i gruppen The Northstar Session men bestämde sig för att testa vingarna som soloartist. 2014 släpptes debutskivan Waits for a Storm to Find producerad av Joe Napolitano och George Johnsen. 

 

Om nya skivan har Szlachetka själv sagt att,

”If this album came out in the Seventies, you'd say it was a rock & roll record. These days, you'd probably call it Americana. We didn't want to use a lot of guitar pedals on Heart of My Hometown. We didn't clutter up the sound. The idea was to keep ourselves in check, so these songs could really speak for themselves”

(Källa: RollingStone) 

 

Albumet är en snygg mix av modern Americana, 70-tals rock från  Kalifornien. Grammyvinnaren David Bianco (Tom Petty, Bob Dylan och Bruce Springsteen) har producerat och det finns både lugna stämningsfulla singer-songwriterlåtar och spår där Szlachetka tar hjälp av sitt band och vrider upp tempot ordentligt. Precis som många andra artister i denna gener så är Tom Petty och Jackson Browne stora inspirationskällor vilket återspeglar sig i musiken på Heart of My Hometown.

 

Storytelling lyrics, guitar prowess and vocals that sound raw and polished in the same breath. He draws on Americana influences, rock-country qualities and even a few pop tendencies to craft a song that’s rooted in folk and country music, yet raised to new lyrical, musical and emotional heights.”  (Källa: The Boot)

 

 

Lyssna på

 

Heart of My Hometown 

 

https://szlachetkamusic.com


Jeff Hyde, en veteran på Music Row gör solodebut (180328)

Jeff Hydes solodebut Norman Rockwell World finns ute nu

I början på 00-talet flyttade Jeff Hyde till Nashville för att försöka försörja sig som låtskrivare på Music Row. Och man kan minst sagt säga att han lyckats. Genom åren har artister som t.ex. George Strait, Luke Bryan, Alan Jackson och Nikki Lane spelat in hans sånger. De senaste 10 åren har han även varit medlem i Eric Churchs band där han spelat akustiska instrument och sjungit. Hyde har dessutom skrivit några av Churchs största hits genom åren. Med en mängd låtar som han inte lämnat till någon artist bestämde han sig för att själv kliva ut i strålkastarljuset och ge ut sitt första album i eget namn. 

 

"NASHVILLE, Tenn. — January 10, 2018 — Already a Grammy-nominated songwriter and longtime member of Eric Church’s touring band, Jeff Hyde makes his solo debut with Norman Rockwell World. The 10-track album arrives February 23, and the first single, “Henry Ford,” premiered today with Rolling Stone Country. The outlet noted “the stripped-down and subtle sonic approach [and] gently rolling strains of a finger-picked guitar” that accompany Hyde on the Don Williams-inspired song, which “conjures nostalgic images of the world Rockwell painted – one where actions spoke louder than words and some things were off limits.”

Hyde wrote the song after he heard Williams discuss his relationship with the spotlight in an interview. Williams said, “I’ve always felt like you don’t have to know Henry Ford to drive one.”

“I still think there’s value in letting your work speak for itself,” Hyde told the outlet.

Over the past dozen years, Hyde has written many country hits for other artists, including Church’s chart-topping singles “Springsteen” and “Record Year.” A long line of artists including Alan Jackson, George Strait, Bobby Bare, Luke Bryan, Charlie Worsham, Nikki Lane and Becky Buller have also put their own stamp on his songs, but still much of his material remains unused. It’s a natural result of Hyde being one of Nashville’s busiest songwriters, in an industry where more songs are written than are ever heard.

Produced by fellow songwriter Ryan Tyndell, Norman Rockwell World rounds up 10 of those untouched compositions, including songs written alongside fellow hitmakers Michael Heeney, Clint Daniels, and Casey Beathard.

“When you write for a publishing company for years, you eventually wind up with songs you’re proud of that are just sitting on a shelf,” Hyde said. “That was part of the reason for doing this record. We wanted to take some of those best songs and give them a life.”

A native of Marshall, Texas, Hyde moved to Nashville in 2001. He was raised on the sounds of artists such as Keith Whitley, Tom T. Hall, and The Statler Brothers — chart-topping country singers who wrote many of their own hits. “You could turn their records around and look at the back to see who wrote the songs,” he remembers, “and the singers were also the writers. I always knew songwriting was the core thing I wanted to do in the music business. I wanted to start with that foundation, anything further would be a bonus.”

Norman Rockwell World roots itself in Hyde’s songwriting chops, and also introduces him as a talented vocalist who delivers a song with the same finesse he uses to spin a lyric. He sings each song in a welcomingly strong voice, one that may be familiar to Eric Church’s fans who have seen Hyde play acoustic instruments and sing harmonies in Church’s band for more than a decade. He beefs up his sound with everything from banjo riffs to mandolin solos. The music itself nods to his longtime influences — including 1980s trailblazers like Williams, Whitley, and Vern Gosdin — without losing its modern appeal." (källa: thepresshouse)

 

Lyssna på

 

Norman Rockwell World 

 

https://www.jeffhydemusic.com


Courtney Marie Andrews briljerar på nytt som låtskrivare på sitt nya album (180326)

Courtney Marie Andrews hyllades unisont i Americana och alt countrykretsar efter att hon släppt sitt femte album, förra året. Bara ett år senare kommer hennes nya album, May Your Kindness Remain. Nya skivan är inte lika enkel och sparsmakad i sin framtoning som föregångaren, men Andrews visar på nytt vilken briljant låtskrivare hon är. 

 

Nedan följer en intervju som The Student/Newspaper gjorde med Courtney Marie Andrews tidigare i mars. 

 

Americana’s new generation: an interview with Courtney Marie Andrews

BY  •   MARCH 12, 2018

 

Courtney Marie Andrews has been on the road since she was 16.  She has spent over a decade honing her craft, releasing six albums and playing with the likes of Jimmy Eat World and Damien Jurado. Her seventh album 

May Your Kindness Remain will be released on  23 March, and showcases her signature blend of indie-folk and Americana. We caught up with Andrews, ahead of her UK and Ireland tour, where she will make a stop at Edinburgh’s Summerhall on 19 April.

 

What the process of recording your fourth album, May Your Kindness Remain?

    I was actually gonna do it in the same studio where I recorded the previous album, but when I got to the Litho Studios in Seattle I had this artist’s sinking feeling in my stomach that I had to do something different. I contacted the producer, Mark Howard, and I asked him to produce the album. We recorded it in a big glass house overlooking the LA skyline, pretty much live, without a click.

Did the LA sun match the album better than Seattle rain?

    Some tracks definitely feel like that. More than anything, the theme matches it really well because LA is a melting pot. It goes from poverty to extreme wealth and the record deals with those things.

Kidness is a recurring motif on this album. What does this word mean to you?

    I’m not religious and I realised, after many years, that my moral compass and gospel is kindness. It’s not always easy and I’m aware of the flaws in humanity, in myself and in others. But I also feel that this is something to strive for: some people strive for God, I strive for kindness. In moments of complete despair, even the smallest smile at the grocery store feels comforting. Especially as a musician, you’re so far removed from humans that you start to feel isolated and lonely. So musicians are literally getting by on the kindness of strangers.

How is the album photoshoot connected with this message?

    I wrote a lot on poverty and depression, so I wanted to create a space that wasn’t perfect, but that also felt like a dream. There are strange books, empty bottles, a TV that’s always on but nobody ever watches it. This is the sort of space I spent a lot of my childhood in.

The album cover is one of the few chances we get to see you without a guitar. Is guitar your comfort zone? 

    For many years, it was my safety blanket. I’ll never forget going to a party when I was 14 and feeling completely like an outcast. But if I had a guitar in my hands, I felt comfortable. It’s definitely a safety bubble.

You touch upon issues like mental health as well as poverty and feminism. Is it the artist’s duty or privilege to speak up in social matters? 

    As a songwriter, I feel it’s definitely a duty to be an emphasiser for the world. You have to be observant and understand what’s happening, especially when you’re singing songs in a traditional way, like I am. It’s important to be tuned in to the world. Right now we’re living in a time with a lot of change, discourse, sadness and confusion, and I can’t help but write about those things because I’m experiencing them as well.

Feminism especially has always been an important part of your music. How does it feel to be a woman in the music business? 

    A lot of times people just assumed that I couldn’t set up my guitar or mike. I heard ‘What do we have to do for you?’. Even when it wasn’t outspoken, I felt the vibe ‘you can’t do this.’ I’m really stubborn, I wanted to do everything myself and prove that I could. I’m in a band with guys and it often goes straight to them when it’s me who’s headlining. I’m just as capable as men. We’re hitting US and Europe now – with me as a girl boss.

Do you feel that your music, inspired by American folklore and mentality, is received differently in Europe and that you need to find a new way to present it?

    What I have is what I have, and I present it everywhere. I don’t try to change anything for a specific country. I say the same jokes, and if people don’t get it, it’s fine.
    In the UK people are a bit reserved but they’re very good listeners. Americans tend to be very loud. The balance is actually the best – too quiet is scary, too loud is obnoxious.

Courtney Marie Andrews


Modern Country från Louisiana. Jordan Davis har släppt sin debutskiva ”Home State” (180324)

”MCA Nashville’s Jordan Davis releases his highly anticipated debut album, Home State, today. In support of the album release, Jordan will make his national TV debut with NBC’s TODAY on Tuesday, March 27 during the 10AM hour followed by “Late Night With Seth Meyers” Wednesday, April 4.

The Louisiana native co-wrote every track on Home State which was produced by Jordan’s good friend Paul DiGiovanni.

 

“I wanted there to be some type of thread tying everything together and all these songs came from Louisiana, my home state,” says Jordan. “For me, Louisiana was the common thread whether it be the idea, the relationship I was writing about or even meeting my wife in New Orleans. Home State just popped into my head and from that moment I knew that’s what the name of the record needed to be.”

 

Jordan’s debut single “Singles You Up” currently sits at No.5 on the country airplay charts and was recently certified Gold by the RIAA.  “Singles You Up” continues to accumulate impressive streaming numbers after staying on Spotify’s US Viral Chart for over a month and even reaching Spotify’s Global Viral Chart. Earlier this year Jordan landed on several “Artist to Watch” lists including BillboardRolling StoneThe TennesseanPandoraCMTSounds Like NashvilleWhiskey Riff and more.

Jordan is currently touring with Jillian Jacqueline on his first headlining “White Wine and Whiskey Tour.” The singer/songwriter is set to hit the road this summer with Jake Owen and Chris Janson as part of the “Life’s Whatcha Make It Tour” stopping at minor league baseball parks across the country. For a full list of tour dates, news, images and more, visitwww.jordandavisofficial.com

(källa: http://countrymusictattletale.com)

 

Lyssna på

 

https://open.spotify.com/album/1GLbMlNc7OYtTS2z657K4f?si=YxGseiHnTC-7YlYut11R6g


Kolby Cooper, en kommande stjärna på Texas musikscen (180323)

Kolby Cooper

Det är alltid lika roligt att upptäcka nya artister. Kolby Cooper är ett bra exempel på detta. Cooper är en 18-åring (!) från Palestine i Texas. (En stad som jag för övrigt åkte igenom på min senaste roadtripp genom Texas) Han släppte sin debutsingel "Every Single Kiss" hämtad från sin EP "Vol. 1 " i slutet av november och singeln har redan streamats över 50 000 gånger på Spotify! Musiken har influenser från alternativ country till mer traditionell klassisk Texas country med starka texter och Coopers sångröst känns helt rätt. Med all säkerhet kommer vi att höra mer av Kolby Cooper framöver.

 

Texas Music Pickers gjorde nyligen en intervju med Kolby Cooper.

 

Texas Music Pickers: Let’s go ahead and get this one out of the way, how old are you?

Kolby Cooper: I’m 18 years old…although most people can’t believe it.

TMP: How long have you been playing and writing?

KC: I’ve been playing guitar since I was 11 and started writing songs not too long after!

TMP: Who would you describe as your musical influences?

KC: My musical influences come from a wide variety of places: some being country music legends like Waylon and Cash, and pretty much any Texas country artist I heard growing up, and others being bands like Blink-182 and Nirvana. I’ll listen to almost any music and find at least one thing that I really like about the artist or song!

TMP: How would you describe your style and sound?

KC: The style of music we play is a kind of modern Texas country, mixed with older Texas country.  As far as our sound, we try to get a mix of rocking country with a little classic country. 

TMP: We’re really digging the new EP! With this being your debut record, what are you hoping to accomplish with it? How have things been different since releasing it?

KC: With this being our first release, we are really just hoping that everyone can listen to it and find a song or two that they can relate to. We also hope that as many people as possible hear it just because we’re so proud of every song on it. Since releasing it’s been pretty cool because I’ve had people from places like New York, Florida and California message me telling me how much they love it, and I just think to myself it’s crazy – I’m just a kid from a town most have never heard of and I have people all over the United States listening to it!

TMP: With the EP being called, “Vol.1”, we assume that means that you’ve already got plans for the next one?

KC: Yes, we have plans to put out a Vol.2. We hope to get back in the studio this summer, but nothing is 100% yet!

TMP: What does it feel like seeing your debut single “Every Single Kiss” get such a great response on Spotify so far?

KC: Seeing our debut single doing so well on Spotify is absolutely awesome! When we were released it, we were hoping that we would eventually get to 1000 streams just like most people putting out music for the first time; and here we are just a few months later with over 50,000 streams…it’s like a dream come true honestly!

TMP: Two tracks that really stand out to us from the EP are “Take it from Hank” and “Would it be Wrong”. Can you provide us with some background on them?

KC: “Take It from Hank” was a song that our producer Phillip Mosley wrote and showed me the first time we went in the studio. I instantly fell in love with everything about it. I think it fits great on the EP. “Would It be Wrong” was one of the first songs I wrote by myself. I wrote it around the time I was 16, I just got my license and was thinking “what if someone passed an old flame’s street, and wanted to just show up, but didn’t know if it was the right thing to do. I had the chorus for probably six months before I finally finished the song.

TMP: If you had to pick just one song from the album, which song are you the proudest of?

KC: That’s a tough choice. My two favorite are “Would It be Wrong” and “It Ain’t Me”, but I think in the end “It Ain’t Me” is the one I’m most proud of!

TMP: As of right now, what’s been your most memorable live show so far?

KC: The most memorable live show I’ve played so far was a festival for Stephen F. Austin University.  It was a great crowd! They were all up by the stage and jammed to every song, even the originals no one had ever heard.

TMP: What does the rest of 2018 look like for Kolby Cooper?

KC: As of right now, the rest of 2018 is looking great. We look forward to playing as many shows as we can, meeting new people every day, and having as many people as we can hear our music!

 

Lyssna på

 

Vol 1 -EP

 

Website: http://www.kolbycoopermusic.com/

Facebook: https://www.facebook.com/Kolbycoopermusic/

Instagram: https://www.instagram.com/kolbycoopermusic/

Twitter: https://twitter.com/KolbyCooper_

 

Min kompis Larsa tankar vår hyrbil i Kolby Coopers hemstad Palestine, Texas


Chris Stapelton med flera tolkar Sir Elton John på en kommande hyllningsskiva (180223)

”Originally recorded for John's 2001 album Songs From the West Coast, "I Want Love" earned the performer a Grammy nomination and came with an unforgettable music video starring Robert Downey Jr. In his rendition, Stapleton shows incredible restraint, opting to use his resonant lower register and a few well-placed growls instead of fireworks to capture the song's sense of isolation, while plaintive strings swell all around him. 

 

"At any stage of life you can pick out a moment and a place in time, things that were going on and there's an Elton John song playing somewhere in the background," said Stapleton in a release. "He's always going to be present in every musician's mind and mine as well because his music reaches that far."

 

Along with Stapleton, the Restoration LP features a diverse array of country and Americana performers, including Brothers Osborne ("Take Me to the Pilot"), Lee Ann Womack ("Honky Cat") and Little Big Town ("Rocket Man"). The two discs, due out April 6th, coincide with John's retirement from performing” (www.rollingstone.com)

 

 

Lyssna på

 

I Want Love


In the Circles Playlist for March 2018 (180321)

Ny musik från Kacey Musegraves, Dillon Carmichael, Jon Pardi, Dallas Smith, Brett Kissel, Sir Canyon, Sarah Darling, Sam Morrow med flera.  ⭐️🎙

 

Lyssna på

 

Playlist for March 2018


Utsökt Vintage Country från England (180319)

Hannah Johnson från Birmingham, England, började sin musikkarriär tillsammans med sin pappa och syster i Bluegrass- och Westerngruppen The Toy Hearts. Förutom att sjunga och spela mandolin så var även Hannah låtskrivaren i gruppen. The Toy Hearts har släppt fyra album och en EP. Storasyster Sophia släppte ett soloalbum i oktober 2016 och i juli 2017 var det lillasyster Hannahs tur att ge ut sitt första soloalbum, Shaken. Skivan är inspelad i Austin tillsammans med hennes band The Broken Hearts, där även pappa Stewert ingår. 

 

Hannah Johnson spelar traditionell Country och Honky Tonk med inslag av blues och hennes debutskiva är väl värd att lyssna på. Countrymusik och England är inget som vanligtvis nämns i samma mening, men Hannah Johnson visar att det går att spela och sjunga klassisk country av bästa märke trots att hon inte är uppväxt i den amerikanska södern.

 

På den kommande UK Country Music Awards 2018 är Hannah Johnson nominerad i tre kategorier, UK Country Artist of the Year, UK Female Country Singer of the Year och UK Country Album of the Year. 

 

"Hannah Johnson and The Broken Hearts deliver an exciting, eclectic range of roots music, which specifically celebrates Country and Western Swing songs from the 1950s era! Celebrate with Hannah & Co. as she releases her debut CD, ‘Shaken’ on 8th July 2017, which was recorded in Austin, Texas at the prestigious Ameripolitan Studios. Engineered/Produced by Cris Burns, it features both original/cover material with her band and a whole host of accomplished American musicians such as Emily Gimble, Roger Wallace, Beth Chrisman, Bryce Clarke, Josh Hoag and Tom Lewis.

Without wading in the quagmire of debate about what is and what defines ‘Americana Music’, Hannah Johnson and The Broken Hearts seek to reveal the music that used to be called ‘COUNTRY’ in the impassioned era of Honky Tonk: when musicians sought only to play the best music possible and get folks up dancing, (in proud defiance of an industry which today, has tendency to dilute the very essence that made it become renowned). Our material is a celebration of Honky Tonk, classic ‘old’ country, western swing, blues and standards with original songs written in these genres. (källa: http://www.greennote.co.uk/production/hannah-johnson-the-broken-hearts/)

 

Lyssna på

 

Shaken

Hannah Johnson


Andra singeln från Ashley Monroe nya album Sparrow (180316)

Grammy-nominated singer-songwriter Ashley Monroe announced that her fourth full-length release, Sparrow, would be arriving on April 20, and now she's revealed both the album cover and full track list for the project.

Produced by Dave Cobb, the album has songwriting assists from some of Monroe's most talented friends, including Anderson East and fellow Pistol Annie Angaleena Presley. Monroe shared the cover—a moody, retro-feeling profile portrait—and explained in an Instagram post that the songs on the record were "written from the most honest part of my soul."

It's not a surprise the album deals with deep honesty, as Monroe said its themes emerged as she was working through a lot of childhood trauma that derived from her father's death and its aftermath.

"I was unpacking a lot of stuff," Monroe states in a press release. "I was singing, and identifying what it's like to be left. No one told me what I should do, back then, when the world started to crumble."

Additionally, Monroe worked on the album while pregnant with her first child, so was approaching it completely substance-free.

She's released two songs from Sparrow to date: The sultry "Hands on You" and lush, wistful "Paying Attention." (källa: tasteofcountry)

 

Lyssna på 

 

Paying Attention

 

 


Joe Nichols has launched his “Never Gets Old: Traditional Country Series.” (180316)

Multi-platinum Red Bow Records recording artist Joe Nichols has launched his “Never Gets Old: Traditional Country Series.” Drawing from Country tradition in its purest form and several of his greatest musical influences, Nichols is set to release a classic Country cover song with coinciding video content every month. A natural passion project for Nichols’, CMT.com applauds, “through the years of country music trends, one thing that will never go out of style is Joe Nichols’ voice and the traditional country he sings.”

This past Friday, (3/9) Nichols kicked off the series with a melodic cover of Don Williams’ “Good Ole Boys Like Me,” as an ode to his wife. 

Widely lauded for his distinctive traditional appeal and roots, the series will include songs of icons like Charley Pride and Merle Haggard. Look out for a new track the first Friday of every month, with the next song hitting streaming services and digital retailers on Friday, April 6

(källa http://countrymusictattletale.com/2018/03/13/joe-nichols-launches-never-gets-old-traditional-country-series/

 

Lyssna på 

 

Good Ole Boys Like Me


Dillon Carmichael musik kommer från countrymusikens själ (180312)

Dillon Carmichael, en 23-åring från den lilla staden Burgin i Kentucky, skriver och sjunger musik som bottnar i countryns djupaste själ. Det är hjärta och smärta med texter som verkligen berättar en historia. Med sin djupa barriton och sittklassiska komp är det omöjligt att inte tänka på artister som Chris Stapelton, Colter Wall eller Alex Williams när jag lyssnar på Dillon. 

 

"I want lyrics to be relevant in songs and on radio again," säger Dillon på sin hemsida. "I'd like lyrics to impact people the way they impacted me growing up, listening to some of my favorite artists like Hank Williams Jr., Vern Gosdin and Waylon Jennings. Those guys were true country."

 

Dillon har hittils släppt tre singlar och är de typiska för hur hans första hela album kommer låta så räknar jag dagarna till den släpps. 

 

Lyssna på

 

 It´s Simple

 

Made To Be A Country Boy

 

Old Songs Like That

 

🌵🌵🌵🌵🌵🌵🌵🌵 (8/10)

Dillon Carmichael


Kylie har flörtat med country tidigare. Både på omslaget och videon till singeln Never To Late finns tydliga influenser från Country & Western. Singeln släpptes 1989 och låten fanns på hennes andra LP Enjoy Yourself

Stop Me From Falling, Kylies andra singel från kommande albumet Golden. Inspelat i Nashville (180310)

Under två veckor i juli 2017 befann sig Kylie Minouge i Nashville för att slutföra arbetet med sin nya skiva. Miljön i Nashville kom att påverka Kylie så mycket att hela skivan fick en tydlig country-pop prägel. I Nashville inledde hon samarbeten med bl.a låtskrivare som Steve McEwan, han har tidigare bl.a arbetat med Keith Urban och Carrie Underwood och Amy Wadge, som skrivit låtar tillsammans med Ed Sheeran. För första gången sedan 1997 har Kylie varit med och skrivit alla låtar på skivan. Resultatet blev skivan Golden som släpps den 11 april. Kylie har själv beskrivit skivan som ”Dolly Parton standing on a dance floor”!

 

Andra singeln från Golden har precis släppts och ’Stop Me From Falling’ följer samma musikaliska inriktning som första singeln ’Dancing’, det är lättsam country pop med influenser av electronica och electropop. 

 

Lyssna på

 

Stop Me From Falling

 

🌵🌵🌵🌵🌵🌵 (6/10)


Brent Cobb har släppt andra singeln från kommande nya skivan (180309)

Brent Cobb's latest song, "King of Alabama," is a choogling song about a road dog who's moved on to the next astral plane; it seems like its theme might serve a larger concept driving the Nashville singer-songwriter's next album, Providence Canyon, which he's just announced will be May 11 on Low Country Sound. Cobb's first release from the upcoming album was an anthem for the working musician; his latest pays tribute to one guitar-wielding night laborer who was a friend and mentor to Cobb before his untimely

death in 2013.

 

Wayne Mills grew up in Arab, Ala., and played for the Crimson Tide before coming to Nashville; a favorite of hardcore country fans throughout the South, he headlined shows that future stars like Blake Shelton and Dierks Bentley opened. Mills was shot to death after a confrontation with the owner of a Lower Broadway-area bar and BBQ joint, now serving time for second-degree murder. 

 

Cobb, a troubadour whose classic country-rock songs are enhanced by his warm heart and keen eye, tells Mills' story with grace and discretion, as does the charming animated video by Tom Jarrett for Dreambear. The best tribute Cobb could give someone who, as he does, spent his life on the traces, parkways and interstates around Music City, though, is the song's strong, kicky sonic engine.

 

Cobb kicks out a Keith Richards-in-Muscle Shoals riff on his acoustic guitar and it melds perfectly with the organ to form a foundation that's pure, easy locomotion. Each verse follows another like the stretch of blacktop between exits, resolving in a chorus that's breezy and uplifting without unsettling the song's groove. Far from maudlin, Cobb's tribute does exactly what Mills did: it keeps on rocking, headlights on, until the last note.”  (Källa: npr Music)

 

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King of Alabama 

 

🌵🌵🌵🌵🌵🌵🌵 (7/10)

Brent Cobb


Corey Hunt Band - ”original country music shot through with acoustic folk and rock & roll attitude” (180309)

"The Corey Hunt Band hails from Randolph County, North Carolina, but more and more their music is taking them across the country on tour and into the ears of listeners around the world.  They’ve found especially fertile ground for their sound – original country music shot through with acoustic folk and rock & roll attitude. Along with right-hand-man bandmate Eric Wise, Hunt has scored success on the iTunes Country Album Chart, mingling with mainstream stars and legends in the Top 100 (rising as high as #71) upon the release of their latest album The Tower.   “People ask when we’re gonna make it/well the truth is we already have,” the title song insists; for starters, the lead-off single “Hannah Belle” cracked the Top 50 on the Texas Regional Radio Report chart.  Hunt’s songwriting ranges from sincere romanticism to outlaw rebellion, and their do-it-yourself approach to booking, recording, and gigging has given them the freedom to explore and expand their music as they grow.  With room to grow and momentum on their side, their crowd-pleasing and relatable take on modern roots music is poised for bigger and better things every time they hit the stage or the studio." (källa: coreyhuntmusic.com)

 

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North Of Low Water 

 

🌵🌵🌵🌵🌵🌵🌵 (7/10)

Corey Hunt Band


Brandi Carlile

Brandi Carlile: Everybody Else’s Story "It’s the story of what makes us more than a band. And we want it to be everybody else’s story, too.”

“Is it okay if I take my shoes off?” Brandi Carlile asks somewhat rhetorically, settling into a leather chair at an office in Nashville’s Marathon Village, an industrial brick building that used to manufacture boilers and now is home to hip distilleries and a shop owned by the host of reality antiquing show American Pickers. Carlile, in jeans and an olive-green vest, kicks off her boots and gets comfortable while tourists mull outside, eager to grab that perfect vintage road sign, or at least a branded t-shirt. 

Truth is, she’s actually a little nervous. In a few hours, Carlile will join Anderson East and Brent Cobb to play a club gig in East Nashville, a holiday party for their label, Low Country Sound.  Carlile recently made the move to the Dave Cobb-helmed Atlantic imprint from ATO to release her new LP, By The Way, I Forgive You, and to work with Cobb himself. But she’s barely played any of the new songs, and she’s worried that things might get emotional up there. And if a woman who’s sung for, and become a favorite of, President Obama is feeling the jitters, it’s clear she really means it. 

“I don’t know how I’m going to do any of these fucking things,” she says, laughing uneasily. There’s the technical stuff that has Carlile a little uncertain, like a new drummer and that new material, but it’s also the content that she’ll be singing about: for the first time, Carlile and her bandmates, twins Phil and Tim Hanseroth, are getting more personal than ever, and political, too. Known for resisting any discussions about the meaning behind their lyrics and seeing her songs as “cloaks” — in other words, keeping things broad enough that they can be worn by anyone — By The Way, I Forgive You comes from the lives and experiences of Carlile and the twins in a way they are more willing to talk about than ever before. These tracks aren’t just cloaks. They’re the skin and bones underneath. 

Carlile, the owner of one of music’s most otherworldly voices, has been making changes left and right these days: a new label, two new producers (Shooter Jennings and Cobb tackled By The Way, I Forgive You together), a new baby on the way — she and her wife Catherine Shepherd are parents to a daughter, Evangeline, and they’re expecting a second girl soon — and a new way of writing and talking about her songs. And it was clear as soon recording began in the legendary RCA Studio A in Nashville that all of these transitions were going to breed some heavy releases, like the way deep massage can unleash years of repressed emotions, stashed away in a knotted shoulder. 

We are all so northern, we are basically Canadian. We don’t cry or express ourselves except through music,” Carlile says. She and the twins all live within miles of each other 45 minutes outside of Seattle, and they moved their families to Nashville for a month to make the album, living in a house in the Belle Meade neighborhood. “But we were recording and got through most of a song, and then just burst into tears. And it was the second day. We all ran to each other and we were crying and it was the weirdest thing that ever happened to us. I think it scared Dave pretty badly.”

Cobb wasn’t too fazed (“You can’t freak me out,” he says), and they went on to make By The Way, I Forgive You over the course of three weeks, adding stunning instrumental arrangements from the late Paul Buckmaster to songs like the scorching political roots anthem “Hold Out Your Hand.” “She walked in ready to kick butt and tell the truth,” says Cobb. “And you can’t underestimate the twins. They are such a big part of everything.”

Indeed, the dynamic between Carlile and the Hanseroths has been one of music’s most distinctive partnerships: they peform under Carlile’s name, but write the songs together and thoroughly consider themselves a band — even a family, which became reality when Phil married Carlile’s sister. But up through their last record, 2015’s The Firewatcher’s Daughter, they still divulged who was responsible for what when it came to the track listing. Phil Hanseroth gets credit for their breakthrough hit “The Story,” and Carlile and Tim Hanseroth the more recent single “Wherever Is Your Heart.” But on By The Way, I Forgive You, they’ll keep it vague, neglecting to disclose who actually composed what at all.

All of it says, ‘All songs written by Brandi, Tim and Phil.’ We just always feel like we are waking up and looking through the same windows,” Carlile says. “We live on property with each other. When somebody gets divorced, we are all at divorce court. When somebody gets married, we are all at the altar. When somebody dies, we are all at the funeral. We are all writing each other’s story. Everybody that has died, went to jail, took their own life, went to rehab, it has affected all of us. It’s the story of what makes us more than a band. And we want it to be everybody else’s story, too.”

Cobb didn’t just want their story — he wanted “The Story,” again. To be exact, he wanted a moment where Carlile could show the full range of her vocals and let those abilities ring through in a way she hasn’t quite done since that seminal single. See her live, and it’s there full force — Carlile can wield her voice to quiver like a bent note at the end of a guitar solo and soar as loud as an opera singer, still managing to keep a tender touch of rasp — but she hasn’t let it go wild on her recordings in the same way. Cobb wanted her to go there again, so he asked the trio: can you make another “‘Story’ moment?” It was a bold request that didn’t go down easy at first.

“It really upset the twins,” Carlile says. “Asking you to do something similar to something you did a decade ago is hard. It felt like he was saying, ‘You haven’t done anything as good as this since you did this!’ But don’t we all want to be how we were at our best moment? It started to feel like a faith-based request more than a criticism. That I didn’t want to let him down, and I wanted to try.” Carlile started thinking it over more carefully and that night, as she went back to their home in Belle Meade and asked her wife about it, she got a hard bit of truth. “I told her that he asked us to do a song like ‘The Story,’ and said that I haven’t had a vocal moment like that since then, and can you believe this shit?” she recalls. “And my wife said, ‘Darling, if you’re honest, is he right?’”

What came out of that debate was “The Joke,” the record’s first single and a soaring ode to championing individuality and silencing the naysayers in a world overflowing with them. Inspired by a friend’s son who wasn’t being accepted at school, it’s the most cloak-like of the bunch. “It dawned on me that sometimes we have a tendency to put boys into boxes,” she says. “I was thinking about him, and all the girls who were so excited before this election and really believed that something would happen.” In “The Joke,” the joke’s on everyone who says no or why or “you shouldn’t be that way.” And it’s also within the sheer power of Carlile’s voice. ”It was really, ‘Come on, show people what you can really do,’” Cobb recalls of egging her on in the studio. “She got a laugh out of that. When she goes crazy at the end, it’s all that emotion but being like, ‘Yeah, all right, let me school you jokers.’ But it wasn’t hard to coax that out. She’s a natural.”

 

“The Joke” might unlock those vocals but it was the album’s opener, “Every Time I Hear That Song,” that really exposed the personal nature of these recordings before most of them even began. “I knew right then and there this was going to be a confessional,” says Carlile about the genesis of that song. It’s about divorce “in awful circumstances,” and what it means to forgive someone — and it was also quite clear that the process of spelling this all out in an album wasn’t going to be easy. For anyone. “All the current people in our lives were going to have to hear things they didn’t want to,” Carlile says. 

 

Carlile also let things get more political on By The Way, I Forgive You.  Always  a passionate activist — her album Cover Stories, celebrating the 10th anniversary of The Story with appearances from the likes of Dolly Parton, Adele, Margo Price and Pearl Jam and a foreword written by President Obama benefitted the organization War Child — she and the twins founded the Looking Out Foundation, which “aims to amplify the impact of music by empowering those without a voice.” But she stopped short of taking any sort of political stance itself when it came to songwriting. Until this record.

 

“I used to think I could be more ambiguous with politics,” Carlile says. “I used to say ‘I don’t support politics, I support issues.’ But, you just have to get in with both feet, and now I totally disagree with that. You have to really rage against what oppresses people.” She admires Price, Shovels and Rope, Jason Isbell and the Avett Brothers as a few of the modern examples — Price, in particular, jumps out. “She’s really brave,” Carlile says. “She knows she is in an industry that might not be receptive to it. And she’s not 23. She can’t afford to take chances, but she is still doing it. That’s what I love about her.”

“Hold Out Your Hand” includes a fiery vocal assault on police brutality and gun violence; “Sugartooth” tackles addiction; and “The Joke” is the perfect antidote to the culture of rage and hatred in the Trump era. But they are still glaringly personal, too, with “The Mother,” written for Evangeline, perhaps being the most potent example. Since becoming a mother herself, Carlile has had to grapple with even more transitions — from the sweeping life changes that innately come with parenting to the smaller, stickier ones, like how it’s impossible to keep a car tidy when there’s a toddler in the backseat, and how to manage a house full of toys when you can’t stand the presence of a million plastic doodads. 

She’s made me come into her lane on so many things,” says Carlile. “Everything has to be stimulating and vibrant. Everything was dark and gray and hip before she came along. Literally and metaphorically, she brought color into my life.” 

It was crucial for Carlile to bring along that color to her Belle Meade homestead as she and the twins made the record: In the morning, they’d all get up, have breakfast and play with the kids or dangle their ankles in the pool, and at night, they’d be back for the bedtime routine. While some artists like to decamp to secluded cabins or Gothic castles to make records, leaving the realities of daily life and personal attachment behind, Carlile needs to be surrounded by what she knows. 

 

“I think some artists want to be away from that when they are creative because it’s what grounds you,” she says. “And it’s really hard to feel larger than life when you are around your kids. And if you want to just be rock star, that’s one thing. But if you just want to connect with people, they need you to be down to earth. People need you to stay in real life.”

With that, Carlile pops her boots back on and heads out across town to get ready for tonight’s show — where she’ll bound onto that stage like the rock star she is to a packed house as Miranda Lambert, East, Dave Cobb, and Dave’s cousin Brent Cobb look on. Evangeline was supposed to be there, too, but she had a tantrum and ended up in bed instead, a story Carlile recounts as she introduces “The Mother,” alone with her acoustic guitar and coming back down to earth. 

“Having a daughter was the most incredible, most enlightening, most awful and inconvenient thing to ever happen to me,” she told the audience. “I struggle with it daily. But I love her with all my heart, and I just feel like songwriters are put here to tell the truth.” (källa: americansongwriter.com)

 

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By The Way, I Forgive You

 

🌵🌵🌵🌵🌵🌵🌵🌵 (8/10)


Ny bra musik från Los Angeles. Sir Canyon har släppt sin debutskiva Ventura Skies (180305)

Sir Canyons debutskiva Ventura Skies

Molly Jensen, som spelar gitarr och sjunger med Sam Outlaw, tipsade på Instagram om en kompis till henne som släppt sin första skiva. Sir Canyon hette gruppen och efter några lyssningar på skivan Ventura Skies konstaterar jag att skivan verkligen är värd att rekommenderas.

Frontmannen i bandet heter Noah Lamberth och han är uppväxt i Riverside som ligger en bit utanför Los Angeles. Musiken kom sent in i Lamberths liv berättar han i en intervju med for folf’s sake. ”I had a late start in music. I always loved it but was really into sports in high school and eventuell played soccer in college” När en kompis behövde en basist till sitt band började Lamberth öva och hoppade in i bandet. Efter några år tröttnade han och startade ett eget countryband, Hank Floyd. Bandet nådde viss lokal framgång och öppnade bla för några stora countryartister. Lamberth bytte basen mot gitarr och började även sjunga. Nu har han släppt den första skivan med sitt nya musikaliska projekt Sir Canyon. Han beskiver själv musiken som en mix av ”Mexican, Surf, Country”. 

 

På https://americanahighways.org hittade jag ytterligare en intervju med Noah Lamberth.

 

"Americana Highways pulled over out in California to chat with Sir Canyon’s Noah Lamberth, filmmaker and occasional pedal steel player for Katy

 

Perry, about his upcoming release, Ventura Skies, produced by Andy Davis and due to be released March 2nd.

 

When asked about the project, Lambert responded, “Ventura Skies is all about connotations of the west. Whether we consider it as a cultural state of mind, or as a physical state, it’s wide open and cinematic. This album is an attempt to echo everything I love about the west: mariachi trumpets, pedal steel guitar, baritone reverb guitars, lush background vocals, it’s upbeat and vibey! I’m hoping the listener is actively seeing and experiencing being in the west.”

When urged to tell us about his favorite song on the album, he said, “It would have to be “Angeleno Daydream.” The lyrics: “so hold me close, darling, or set me free” are really about Los Angeles. People have talked about Los Angeles as a mythological place for years but until one has spent time living there it’s hard to get a sense of how “dreamy” the place really is. It’s like living in a bubble where the most beautiful, talented, creative and wealthy people in the world all descend to strike it rich in some profession. Some never want to leave and others can’t get out fast enough but it keeps luring people again, hoping for fame, fortune or a sense of identity. Los Angeles can be a dream, both good and bad, and that’s what this song is about.”

 

“I used to live on a street called Angeleno in L.A.; it was up on a hill and I could look out on where I used to live across the valley. The view felt like a dream with all the memories in that scene. We wrote the song at that house on Angeleno. The song was also musically inspired by Neil Young. I wanted to write a Neil Young-esque song with those big wide open baritone guitars and some melodic pedal steel guitar, like the beginning of a Western movie.” 

 

“I also had a sense that we could make a good video for “Angeleno Daydream,” so I grabbed my brother and a few friends and we went to downtown L.A. on New Years Eve morning around 6am with no real plan, and thanks to great camera work and rad drone footage we pulled it off.

 

“The funny thing about the bridge shot towards the end of the video is that I look like I’m on the edge of the bridge and the river is about 100ft below but we shot that at the very beginning of the bridge and I was only about 4ft off the ground, it’s movie magic!” (laughs)

Asked what are his greatest songwriting influences, Lamberth said “Merle Haggard, Radiohead, Hank Williams…the list could go on and on. Henry Mancini, Burt Bacharach, Brian Wilson, I love their sense of melody! I’m all over the place with songwriters and genres. A good song is a good song no matter the style. “

How did the album turn out? Lamberth remarked “I love it; from start to finish it’s one complete, cohesive idea, it’s the west! We were very specific with the sounds: instruments, mics, e.q.’s, and I think it shows. We had a great producer to guide the way with Andy Davis. And fantastic players: rhythm section Josh Moreau and Joey Esquibel; Patrick Matera on guitars and baritone; Ran Jackson, Stephan Hovsepian, Martin Saavedra, and Evan Weatherford also, to add their touch to the songs. Our mixer/engineer, John Rausch, killed it. I’m very happy.”

On another, more somber note, he noted that “halfway through making the record, my Dad passed away and we put everything on hold for awhile. During that time I wrote a few more songs that ended up on the album.  I think the record gained a little more depth and significance when we got back into the studio. The lyrics became more real for me, and the songs became a bit of therapy. “Shine Bright Diamond” is like a hymn or prayer and I felt like it was a great way to finish the album. I wish my Dad was still with us but I know he would be proud of this record.”

What’s next for Sir Canyon? “Our record comes out March 2 so we’ll be playing some shows in the L.A. area and I’ll also be playing some solo acoustic shows around the country to support it. Also be on the lookout for a few more videos from us."

 

🌵🌵🌵🌵🌵🌵🌵🌵 (8/10)

 

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Ventura Skies

Sir Canyons frontman Noah Lamberth


Jim Cuddy har släppt sin fjärde soloskiva (180303)

När jag började lyssna på countryinspirerade musik i början på 90-talet var Kanadensiska Blue Rodeo ett av de band som jag först fastnade för. Med låtar som ’Til I Am Myself Again’, ’Rain Down on Me’, Lost Togheter’, ’Bad Timing’ och ’What I Am Doing Here’ fick gruppen en speciell plats i mitt hjärta. Speciellt fastnade jag för sångaren Jim Cuddys sångröst. Nu har Cuddy släppt sin fjärde soloskiva, Constellation. Visst låter det väldigt mycket Blue Rodeo men det är enbart positivt! 

 

”For over 35 years, Jim Cuddy has written songs that have become indelible in the soundtrack of Canadian lives.  With the release of his fourth solo album, Constellation, he adds ten songs to that extraordinary songbook.

 

As one of the founding members and creative forces behind Blue Rodeo, Cuddy has received nearly every accolade Canada can bestow upon a musician, from the Order of Canada and induction into the Canadian Music Hall of Fame, to countless JUNO Awards and a Star on Canada’s Walk of Fame. Behind it all, is a simple devotion to his craft as a songwriter, which remains Cuddy’s tireless pursuit after more than three decades.

 

“I’ve always found fascination in the smallest details of human behavior,” says Cuddy of his songwriting. “It has been something that I look at and remember, whether it is the details of an exchange that I witnessed or an exchange that I have.  Of course, as you get older there are bigger things that happen in your life that you realize you’ll never totally understand.  There never seems to be a loss of things to write about.”

 

Constellation was recorded during the summer and fall of 2017 at Blue Rodeo’s East-end Toronto headquarters, The Woodshed. As is the case with all great songwriters, Cuddy’s music has taken on deeper meaning with the passage of time, no small feat considering he has penned some of the most memorable songs in our nation’s canon.  What comes across on Constellation is less of a separation between the bitter and the sweet, as is sometimes evident with Blue Rodeo, but rather an emotional honesty that resonates across the album. On the album’s many memorable moments, such as “While I Was Waiting,” “Lonely When You Leave” and “Cold Cold Wind”, Cuddy’s unmistakable personality shines through, a testament to how his sound has always resisted attempts to be categorized.  This honesty shines through on the title track, “Constellations”.

 

“’Constellations’ is about a friend of mine who passed away last year.  Some friends and I took him up to my farm and we sort of had our last supper. We had a riotous time, we drank a lot of wine, and we had a lot of laughs, and it was all tempered with the fact that we knew that our friend was not going to survive this illness.

 

I think all the songs on the album were tempered by that because there’s something very sobering about losing a friend, especially losing a friend that’s younger, because it makes you tally up mortality a bit.  What it made me do on this record is write some more definitive truths for myself. Write things that had wounded me. Write things that I loved and held onto and write about things I had lost.”

 

Loss is certainly the theme of the beautiful ballad “You Be The Leaver” which takes on the shock of sudden separation in a relationship, though not necessarily a romantic relationship. “I think in everyone’s life there are relationships that become troubled, and either you survive or you don’t.  There are all kinds of relationships that have a great impact on your life, not just the romantic ones.”

 

Cuddys creative drive led him, in 1998, to launch a solo career in conjunction with Blue Rodeo.  WithConstellation, he continues to find new ways to balance personal reflection and plainspoken storytelling, remaining both intimate and accessible. The new album also reunites him with his long-time band featuring stalwart Blue Rodeo bassist Bazil Donovan, guitarist Colin Cripps, violinist Anne Lindsay, keyboardist Steve O’Connor and drummer Joel Anderson, all of whom, along with and guest musicians Oh Susanna and Jim Bowskill help make this one of Cuddy’s most musically diverse albums to date.

 

Indeed one of the album’s musical highlights is Beggar’s Banquet-influenced “Cold Cold Wind,” a traditional country styled track that ends in a flash and fury.

 

“By the time I finished the song, I thought you know what, this needs to have some explosive life at the end.  And so I just started playing that little lick, and realized we also had two extraordinary guitar players in the room, with Jimmy Bowskill and Colin Cripps, and thought it would be fun to have a guitar gunslinger moment at the end. You need to have a bit of punctuation on the meaning of the song. Plus it was an opportunity for those two guys to inspire each other and play off each other.”

 

Yet, the top shelf playing never overshadows Cuddy’s writing, and the symbiotic relationship between the two is a further tribute to the distinctive Toronto roots rock sound that Blue Rodeo all but defined. As Cuddy explains, “For me, one of the joys in making a record happens when I get past the point of worrying about all the things I may or may not have done wrong, and I can sit back and really absorb and appreciate what everyone else’s contribution. There were so many moments like that on this record, where parts were laid down that really accentuated the emotional impact of a particular song. You only get that with a certain caliber of musician, and I’m fortunate to have them in both bands I’m in.”

 

That sense of trust is evident in Cuddy’s audience as well, especially those who have been along for the ride from the beginning. His keen ear for conveying the highs and lows inherent to all long-term relationships has helped listeners grow along with him.

 

“We’ve all had to deal with our own bumps and bruises and scarring along the way, and part of this new record is facing that reality,” he says. “But in other ways Constellation is a celebration of coming through it all and feeling grateful for these long-term relationships that have sustained us throughout our lives”

(källa: www.jimcuddy.com)

 

⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️(8/10)

 

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Constellation

Jim Cuddy


Första singeln från Joshua Hedley kommande skiva (180302)

Joshua Hedleys debutskiva Mr Jukebox släpps den 20 april

Hedley, an old-school country singer, songwriter and fiddler whose sound recalls Johnny Paycheck and Merle Haggard, has spent years paying his dues in Nashville. Now it’s time for the rest of the world to take notice. 

                 — The Tennessean

 

With the release of his highly anticipated debut album Mr. Jukebox via Third Man Records, Joshua Hedley will embrace the role he was born to play: this generation’s classic country champion.

 

An accomplished fiddle player, Hedley felt inexplicably drawn toward the instrument as a child. He got his hands on his own fiddle at age 8, and by 12, he was playing with middle-aged pickers at the VFW. At 19, he moved from his native Florida to Nashville, where he became an in-demand sideman at Robert’s Western World and other bars, and ultimately, a well-respected frontman. Armed with an easy croon and prodigious fiddle playing, he became known as the Mayor of Lower Broad. He hit the road to perform with artists including Jonny Fritz, Justin Townes Earle, and more, while the 2015 documentary Heartworn Highways Revisitedfeatured Hedley prominently.

 

Hedley didn’t start writing his own songs until he was about 28 years-old. So on the backend of his 20s, he finally started writing, eventually unlocking a flood of clarity and creativity. The heartbreaking, distilled, defiantly classic country that poured out of him became Mr. Jukebox, a salve and beacon for 60s honky-tonk devotees everywhere.

(källa: www.joshheadly.com)

 

🌵🌵🌵🌵🌵🌵🌵 (7/10)

 

 

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Mr. Jukebox

 

 

 

 


Josh Grider har släppt sin 9:e skiva ’Good People’ (180302)

”Josh Grider has been a formerly trained singer, a chart-topping singer/songwriter, and a TV star!

He’s an all-around great entertainer but says writing is his favorite. Josh began putting pen to paper in high school.  He beams when he says, “Writing is my favorite thing in the world.  I’m very fortunate to be given the ability to deliver what I write, and I guess that’s why singing the songs I wrote is my second favorite thing in the world.”

While Josh had been hitting the bars and honkytonks hard for almost ten years it wasn’t until 2012 that his career was kicked up a notch. Early that year, he signed his first publishing deal with AMP Entertainment, and subsequently recorded The Gettin’ There.  That year he also partnered with Paradigm Agency to represent his bookings and was featured on the national television show “Troubadour TX.”

 

Even though Josh played guitar in a jazz combo in high school, and received a scholarship to attend college and study classical voice, it only took one night performing in a Waco honky-tonk for Josh’s relationship with his roots to be cemented. “There was this night at Six-Shooter Junction in Waco, Texas. We had a little thrown-together band and played some cover songs, and I was done. I had already been in this little jazz thing, and they wanted me to sing classical at school, but fronting a band and singing country songs was the place I knew I was meant to be.” (Källa www.realliferealmusic.com)

 

”The hardest thing for people to admit about themselves is that they’re going to change,” says Josh Grider. The country stalwart knows, because he’s done it himself. When you release eight albums, tour the country and abroad, sign publishing deals, top the Texas radio charts, and start a family all in just over a decade, you’re going to come out different than when you went in. 

 

On upcoming new record Good People, the New Mexico native turns the lessons he’s learned so far into an impressive collection of catchy, substantive country tunes — the kind that draw parallels between Grider and artists like Kacey Musgraves and Steve Earle. But Grider delivers them with a smooth neo-traditional baritone to rival Joe Nichols and melodic hooks that, when they hit you just right, feel timeless on first listen.

 

Lead single “Good People” is the perfect example. Written with longtime collaborator Bobby Hamrick and James Slater (who has hits with Tim McGraw and Kenny Chesney, among others), “Good People” is Grider’s reminder to himself that, no matter all the tragedy we see on our TV screens, there are so many good people outnumbering the bad.”

(källa: www.joshgrider.com)

 

⭐️⭐️⭐️⭐️⭐️⭐️⭐️ (7/10)

 

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Good People 

 

 


In the Circles playlist för februari (180224)

Ny musik från bl.a. Caroline Cotter, Brothers Osborne, Shotgun Riders, Whitney Rose, Courtney Marie Andrews, Jacob Bryant, East Anderson, Steve Helms Band, Jon Wolfe och Michaela Anne

 

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In the Circles playlist for February

 


Caleb Caudle nya album Crushed Coins är här! (180223)

Caleb Caudle lämnade det vilda livet i New Orleans och flyttade hem till sin hemstad Pidmont i North Carolina. Han ställde undan whiskeyflaskan, blev förälskad och spelade in skivan Carolina Ghost som jag tycker var en av 2016 bästa skivor.  Caudles musik är en mix av modern Americana och tidig 80-tals country med tydliga influenser från Gram Parson och The Byrds. Men det finns även spår av storheter som George Strait och Merle Haggard i Caudles musik och texter. Nu har han släppt sin nionde fullängdare Crushed Coins som musikaliskt tar vid där Carolina Ghost slutade.  Även om Crushed Coins till största delen är inspelad i Los Angels till skillnad från skivorna innan som spelades in hemma i North Carolina.

        

"It seems inconceivable that boyish voiced singer-songwriter Caleb Caudle’s entry into music was initiated by playing in North Carolina punk bands influenced by the Clash and the Velvet Underground. It’s more likely he was raised on a steady diet of Glen Campbell and ’70s soft-rock radio staples like Seals & Crofts and Dan Fogelberg.

 

Caudle’s unhurried, low key vocals reflect easygoing melodies and soothing yet never sappy sonics. It’s radio and TV ready with enough darkness creeping around the edges to appeal to fans of Jason Isbell and Ryan Adams. That melancholy approach is mirrored in songs tinged by loneliness, faded romance and an overall feeling of loss implied by titles such as “Lost Without You,” “NYC In The Rain,” “Empty Arms” and the title track. The latter is a moving description of a once loving, now empty dwelling, as Caudle sings “There’s no laughter in this house/ Only sadness dripping from the spout.”

 

The characters in Caudle’s detailed sketches largely look reluctantly to the future as on the lovely “Headlights.” Here he muses “I’d rather dream away on something crazy/ than live to see the day my dream was dead,” with sparsely plucked acoustic guitar, sobbing pedal steel and crying fiddle. Dreams also appear in “Stack Of Tomorrows,” with lyrics such as “I fight for what I’ve got/ with not much to show,” as the lighter toned music helps alleviate some of the singer’s frustration. 

 

Caudle’s  everyman voice, with phrasing somewhat similar to that of a sweeter Jim Croce, feels honest and hopeful, even as the sentiments seem dismal. Returning producer/drummer Jon Ashley keeps the overall texture smooth, although with subtle twists such as the heavily reverbed guitar and understated psychedelic splashes running through “Empty Arms.” He tweaks the predominantly easy-on-the-ears sound to bring depth and intimacy to Caudle’s reflective sense of an unsure future many will identify with."

(källa americansongwriter.com)

 

⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️ (8/10)

 

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Crushed Coins 

Caleb Caudle


Elijah Oceans nya singel är släppt (180223)

"L.A.-based singer songwriter Elijah Ocean knows a thing or two about finding inspiration on the road. Raised in rural Maine, he landed on the West Coast a few years ago and he’s spent the years since traveling the freeways and rural byways of America. It’s that sense of restlessness and the realization of the cyclical nature of life at the heart of his latest single “Down This Road.”

 

The first single from his upcoming fifth album, “Down This Road” is a song nearly four years in the making. Ocean first started writing the song when he moved to L.A. in 2014. He then teamed up with his friend and keyboardist Zach Jones to co-write the track. After putting it aside for a few more months, Ocean finished writing the song in Las Vegas on a particularly difficult day.

 

“I ended up finishing the chorus and third verse in a hotel room in Vegas last fall. I was in town doing some casino gigs and I had been spending my days writing and finishing up the (Tom) Petty bio by the pool,” Ocean tells Wide Open Country. “It happened to be the same weekend Petty died and there was that horrible shooting. It felt like the sky was falling. Anyway, I decided to take it into the studio with my band and we tracked it live to tape, overdubbing the doubled 12-string acoustics, and a few other things.”

Tom Petty ​ended up being an obvious source of inspiration in the studio, along with Laurel Canyon legends like The Byrds.

Ocean says the song is inspired by our habitual need to repeat our own patterns in life and how that impacts our relationships.

“‘Down This Road’ is about the cyclical nature of relationships and how sometimes they can feel like Groundhog Day, like we are destined to repeat the patterns that are ingrained in our personalities,” Ocean says. “As a traveling musician, I get that same feeling of Deja vu when I revisit the same places year after year. There is something familiar and fresh happening at the same time and it can feel like you are just spinning your wheels sometimes” 

(källa Wide Open Country) 

 

⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️ (8/10)

 

 

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Down This Road

 

 


Prophets and Outlaws släpper exklusive singel (180223)

⭐️⭐️⭐️⭐️⭐️⭐️⭐️ (7/10)

 

 

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Sweet Soft Southern Smile

Prophets and Outlaws


Whitney Rose cover på You Don’t Own Me ger mig rysningar! (180216)

Whitney Rose version av You Don’t Own Me var en av höjdpunkterna på hennes konsert i Göteborg förra året. Nu finns den äntligen på skiva! Originalet gjordes 1963 av en då 17-årig Lesley Gore.

 

🌹🌹🌹🌹🌹🌹🌹🌹🌹 (9/10)

 

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You Don’t Own Me 

Whitney Rose och jag, maj 2017


Ny musik från Charley Crockett (180216)

Charley Crockett may have grown up on the Gulf Coast of Texas, but his first appearance on the eclectic Americana-at-sea Cayamo Cruise earlier this month left him with a serious set of sea legs. To restore his equilibrium, he took a trip to the Mississippi Delta and the city of Clarksdale — just the kind of musical pilgrimage that characterizes his new LP, Lonesome As a Shadow.

Set for an April 20th release via Thirty Tigers, Lonesome As a Shadow was cut at Sam Phillips Recording in Memphis under the eye of producer Matt Ross-Spang (Margo Price). Coming on the heels of Lil G.L.'s Honky Tonk Jubilee, a collection of classic country covers, it's a more soulful side of the traditional roots-based sound that Crockett first honed as a street performer in New Orleans.

Rolling Stone Country spoke to Crockett about the new album and its lead track, "I Wanna Cry," which is premiering today.

 

Who are you crying for on "I Wanna Cry?"
I'm crying for my sister. She died a couple years ago. She wasn't quite 40 and she died outside of Port Arthur [in Texas], where she was on and off living throughout her life. I was down there playing a show not long after she died, and it just hit me. I was staying in someone's guest house and the song just came to me.

 

 You chose it as the lead song on the album. Was it because it's such personal subject matter?
It's my favorite song, that's why I put it first. In my opinion, it's the best song. People associate me a lot with this Texas, Louisiana, Cajun sound, and I think the song really, really embodies it. I wanted to put that forward.

 

There tends to be a strong sense of place in your music, even in your video for "Jamestown Ferry", yet you spend a lot of time on the road. Why do you think that is?
When I was really young, I think I was trying to run away from growing up in Texas and Louisiana, I was trying to get away as much as possible. The older I've got the more I've needed to sing about the places I was raised. I'm able to really deal with never being in one place for more than two to three days by singing about [those places].

 

What made you head to Memphis to record this album?
It's amazing the amount of artists who came from the Delta to Memphis to record. When you look at all those old soul records, the story over and over again is of these rural-based artists from the Southern part of the United States coming to Memphis and cutting records. Everyone from Elvis to Bobby Bland. I didn't think I'd ever get a chance to cut a record at Sam Phillips, so when Matt took a meeting with me, I was like, "Yeah, I'd record with that guy any time."

 

Coming off the honky-tonk record, what side of yourself are you showcasing with Lonesome As a Shadow?
The difference with this record is that every single song, I wrote. The last one was all covers, and In the Night [2016] around half of them were covers. The thing is, I learned so much by recording those 20 honky-tonk songs. Man, those were all hits. That helped me arrange and write and finish a lot of the originals on this record.

 

Before this modern era, it was all about recording a great song, wherever you got it from. I mean, look at Dylan. He changed music, and everything he wrote was based on traditional music. I could never fucking out-write Dylan.

(källa Rolling Stone)

 

⭐️⭐️⭐️⭐️⭐️⭐️ (6/10)

 

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Lonesome As A Shadow

 

 

 

Charley Crockett med band


Fd punkaren Jason James spelar country som country lät på 50-talet (180209)

Jason James kommer från Texas City i Galveston county och den tidigare punkaren spelar old school country som den lät under sent 50- och tidigt 60-tal. Inte helt oväntat är George Jones och Hank Williams förebilderna. Debutskivan kom för två år sedan och var en mix av blues, honky-tonk och western swing. Det är både dåtid och nutid som fullständigt knockade mig. Nu är en ny skiva på gång och första singeln är Let´s Say Goodbye Like We Said Hello.

 

⭐️⭐️⭐️⭐️⭐️⭐️ (6/10)

 

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Let´s Say Goodbye Like We Said Hello.

 


John Prine släpper ny musik för första gången på 13 år (180209)

71-årige John Prine släppte visserligen en skiva för två år sedan, men då handlade det om covers på andra artisters låtar. Nu släpper han för första gången på 13 år en skiva med helt igenom eget material. The Tree of Forgiveness släpps den 13 april på Prines egna independent etikett Oh Boy Records och är producerad av flerfaldige Grammyvinnaren Dave Cobb. Prine har på skivan valt att samarbeta med flera andra artsiter. Jason Isbell och Amanda Shires, som turnerade med Prine under 2017 och singer-songwritern Brandi Carlile finns med på flera låtar. Dan Auerbach, låtskrivare, producent samt sångare och gitarrist i bluesrockbandet The Black Keys är med som låtskrivare. 

 

Första singeln från nya skivan är Summer´s End som Prine skrivet tillsammans Nashville singer-songwritern Pat McLaughlin, som även turnerat med Prine de senaste åren. 

 

⭐️⭐️⭐️⭐️⭐️⭐️ (6/10)

 

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Summer´s End


Hjärtsjuke Brandon Jenkins släpper ett nytt album (180209)

Brandon Jenkins från Tulsa, Oklahoma, men nu boende i Nashville, har gjort sig ett namn inom den countrygener som benämns Red Dirt.  Jenkins har t.o.m fått smeknamnet “Red Dirt Legend” (vilket även är namnet på hans egna skivbolag) och är förutom sitt stora skägg känd för att hans låtar ofta plockas upp av andra artister, vilket gjort att han är ett respekterat namn bland både kollegor och countrypubliken. 

 

Red Dirt Music är en musikstil som främst kommer från Stillwater, Oklahoma. Många av de artister som brukar nämnas i samband med Red Dirt har en bakgrund på Oklahoma State University i Stillwater. Förutom Jenkins själv har Cody Canada, Stoney LaRue och Mike McClure varit inskrivna på Universitet. 

 

Vid ett läkarbesök nyligen upptäcktes att Jenkin har en hjärtsjukdom som kräver en omfattande operation. Han har själv kommenterat sitt hälsoläge via sociala medier,

"My surgery to replace my aorta and my aortic valve will be after the 19th. I was told the reason for the problem is genetic, something I've had all my life just didn't know it till now. They are letting me go home till the surgery with medication, Just have to take it easy"

Operationen och den vård som Jenkins behöver kostar mycket pengar så därför pågår flera insamlingar för att få ihop de pengar som krävs. Bl.a. kommer en konsert med flera av Jenkins artistkollegor genomföras den 18 februari där allt överskott går till Jenkins vårdkostnader. På hans hemsida går det även att köpa speciellt framtagna Hearts Beat for Jenkins” merch. 

 

Mitt upp i detta har Brandon Jenskins släppts sin nya skiva Tail Lights in a Boomtown.

 

+++++++ (7/10) 

 

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Tail Lights in a Boomtown 

purchase one of these t-shirts: http://topcottonprinting.bigcartel.com/product/brandon-jenkins-fundraiser-hearts-beat-for-jenkins.


Wade Bowen är tillbaka (18028)

Drawing from his experience as a Texas native, and now New Braunfels resident, Wade Bowen combines rock, country, and Southwestern musical influences on Solid Ground, out Feb. 9. While no longer an Austinite, the capital city, where Bowen lived in 2002 and 2003, gets its own specific shout out on the nostalgic “So Long 6th Street,” which laments how much the musical district has changed.

 

You were born in Waco, lived in Austin, and now live in New Braunfels. Can you tell me a little about the trajectory of moving slowly south along I-35 over the course of your life?

I was born and raised in Waco, and then I went to college in Lubbock. That’s where I started playing music and started my band. I played the last three years of my college life out there. I graduated and moved to Austin after that. I lived in Austin a couple of years, and then I met my future wife, and she was living in New Braunfels, so we ended up settling there. We’ve lived here for the last 13 years. I love living in New Braunfels. I love the entire Hill Country—it’s just so beautiful. It’s like I live in a movie. I love going back and forth from Austin to San Antonio and everything in between. It’s a beautiful area.

Why did making this album about Texas feel important in your career?
I think I’ve touched on it in previous records with a song here or there, but this is the first one I really attacked that sound. I think the music of Texas is so unique and cool in so many ways. It’s George Strait, but it’s also Stevie Ray Vaughan  and ZZ Top. It’s rock country and Americana and blues and Tejano all mixed up into one. I had never really made that heavily-influenced Texas album in the same way that Bruce Springsteen showed everybody about Jersey and the sound where he’s from. I kind of relate it to that.

There’s darkness in the minor keys and chord progressions of the album. Is that an element you worked to create? 
It’s definitely something I focused on. I write better in that vein. I’ve never considered myself a very uplifting songwriter. [Laughs] I don’t write up-tempos and happy songs as well. I think this record has a little different swagger than I’ve ever had. It has a more rock edge; it’s a little more raw, grittier. Our live show has always been more on this sound. This represents who I am now better than any other record I’ve done. It represents the intensity we bring onstage.

Your song “Day of the Dead,” evokes the culture of the Southwest and celebrates Mexican culture with its mariachi style, accordion, and classical guitar. Can you tell me where the song came from?
That was part of me reaching into the Texas roots. My producer, Keith Gattis, wrote the song and brought it to me. It brings up Lajitas in the song. He and I had a great experience out there at this festival years ago. He brought the song to me and asked me to help him finish it. I said, “Man I appreciate the offer, but this song is done.” It’s a completely different sound than I’ve ever done. It’s the most unique song I’ve ever put on a record, and it just captures that South Texas influence I love so much. 

Who was the most fun to collaborate with on this album?
I really loved writing “Death, Dying, and Deviled Eggs” with John Randall. He and I have been buddies a long time. We wrote that song a couple of weeks after Guy Clark passed away. My producer said, “You always talk about Guy Clark, but none of your songs sound in the vein of Guy Clark.” When he passed away that really hit home for me, so we wrote this really trying to rip off Guy Clark. What’s the greatest respect you can pay to a songwriter? To try to rip him off and imitate him. [Laughs]

Is there something that you learned in the process of making this record?
Man, I could probably talk to you for an hour on what I’ve learned from this record! Keith was really an amazing producer. He pushed me to a level I’ve never been pushed. I learned that the album is never done until it’s done. He had me get there two or three hours before the band got there, and we wrote every morning and recorded the song that evening that we’d written. That’s something I’d never done before. He got me at a time when I was really lost. I didn’t realize how lost I was. I had just come out of a major label deal. You kind of have the world by the tail, and then, all of a sudden, it’s not there. How do you approach the next phase of your career? He really got me out of that thought process and into the songwriting process. I have a flood of ideas of things I want to accomplish in the next five to ten years. I feel like I’m better than I’ve ever been, and the next five to ten years are gonna be the best part of my career.

What do you see still waiting out there on the horizon?
Oh gosh, I wanna continue to push the envelope and not just make records. I’ve got some ideas in my head, but this record has really opened up the floodgates for ideas and collaboration and projects. That’s something I didn’t have two years ago when I started writing this record.

(källa Austin Monthly)

 

++++++ (6/10)

 

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Solid Ground

Wade Bowen


Nya stjärnskottet Sarah Klangs debutskiva är här! (180209)

Efter några singlar och konserter, är det tänkt att det stora genombrottet ska komma i vår. Stor turné i Sverige (flera konserter är redan utsålda!) och Tyskland, där de nyligen varit på pr-turné. Spelning på viktiga South by Southwest-festivalen i Austin, Texas i mars. Men den breda publiken i Sverige fick alltså upp ögonen – och öronen – för Sarah Klang genom ”På spåret”.
– Jag brukar inte ens titta, men min pojkvän och några i familjen är hardcorefans, säger Sarah.
Kända göteborgsgitarristen Daniel Gilbert hade hört och gillat en Sarah Klang-låt. Han frågade om han fick tipsa Augustifamiljens kapellmästare Stefan Sporsén.
– Visst, kör, sa jag, och tänkte inte mer på det.
– Så ringde Stefan ett par veckor efter det. Gud vad roligt att jag fick sjunga ”Make your own kind of music”. Det är en favoritlåt och jag har alltid gillat Cass Elliott (1941-1974).

 

”Som att jag hade spelat naken”

Kan man säga att det finns ett före och efter ”På spåret” för dig?

- Absolut. Jag visste ju hur jag hade sjungit, en normal prestation. Men när jag tittade var jag orolig för hur det skulle se ut i tv. Kommer jag att vara grön i ansiktet?
– När programmet sändes, det var som att min mobil, typ, började ryka, nästan. Det var så otroligt många människor som skrev meddelanden och på sociala medier. En tidning ringde och skrev om Här chockar hon alla. Det var som om jag hade ”kuppat”. Spelat naken (skratt). Jag hade ju bara sjungit. Men det öppnade verkligen upp för mig.

 

-Jag skriver ju bara om kärlek och relationer. De största kärlekslåtarna är väl ledsna. Att skriva en låt om hur bra man har det är svårt, det är psykopatiskt nästan.

 

Sarah Klang är född i Göteborg. Pappa, som driver en känd smörrebrödskrog, har alltid bott där. Genom åren har Sarah flyttat runt med mamma (föräldrarna är skilda), som är hudterapeut, till bland annat Värmland, Västernorrlands inland och Uddevalla. Där gick hon i gymnasiet. Skolan var inte min grej, jag var mer intresserad av musik och startade gymnasieband, som många gör.

När började du sjunga?

-Jag har nog alltid tyckt om det. Det gör väl alla barn. Kanske var det tidigt i tonåren som någon musiklärare klappade en på axeln och sa att jag var ovanligt bra.

Nynnar in låtar på mobilen

 
FOTO: ANDERS DEROS

Tillbaka i Göteborg efter gymnasiet, har hon jobbat på pappas krog. Och tagit tag i musiken på allvar. Kevin Andersson, som gick året över henne på gymnasiet, blev hennes gitarrist, låtskrivarpartner och producent.
– Vi var bara bekanta i plugget, men träffades på krogen här i Göteborg. Första albumets låtar har jag skrivit grunderna till på gitarr. Men jag kan kanske fem ackord och känner att jag blir sämre och sämre på att spela. Mycket av melodierna nynnar jag in på mobilen. Kevin och jag har samma musiktänkande, han kan sedan ta ut och utveckla mina idéer.
Sarah skriver också gärna låtar på sin begagnade autoharpa.
– Jag hittade den på Blocket. Min kille köpte den. Jag är inte superinsatt, men den är sjukt enkel att skriva musik på, alla ackord finns på knappar. Det är som att du spelar sjuka Beethoven-grejer, du trycker bara på knappar.
Och texterna? Det är mycket olycklig kärlek…
– Jag skriver ju bara om kärlek och relationer. De största kärlekslåtarna är väl ledsna. Att skriva en låt om hur bra man har det är svårt, det är psykopatiskt nästan.

 

Så några vet om att det är dem du sjunger om?

– Absolut. Så många pojkvänner har jag inte haft. De får väl gissa…
Många har kallat Sarah Klangs musik för country. Eller Americana. Jag tycker det låter lite som Adele-möter-Lucinda Williams-möter-Lana Del Rey-möter-Julee Cruise (som sjöng temat till original-”Twin Peaks”).
– Adele… jag blir smickrad. Men kan också känna att det blir lite, lite enkelt att jämföra med henne. Vi har båda fyllig röst. Vi har, typ, samma kropp. Men jag har inte alls hennes register. Sedan har jag andra kvaliteter i min röst som inte hon har. Hon är grym, men jag vill inte att det ska vara lika cleant producerat.
– Musikprojektet är baserat på ett jag som är superledsen och jätteemotionell. Jag är verkligen en downer i min musik, men utanför det är jag en ganska lättsam person som gillar att festa, gå ut och vara social.

 

”Till en vän som gick bort för tidigt”

 
FOTO: ANDERS DEROS

Din låt ”Blue bird” är enormt gripande. Låter som en kyrkorgel och så den lite spruckna rösten…
– Det är nog en vanlig synth. Men jag ville den låten skulle vara lite psalmig. Den är till en vän som gått bort alldeles för tidigt, när vi var unga, kring 20.
Om Sarah Klangs debutalbum är lite vemodigt, lovar hon att konserterna nog kan bli något helt annat.
– Live får jag så mycket adrenalinpåslag att det går att ta rösten till andra ställen än i en studio.
Image är viktigt för artister. Du sa i någon intervju att du vill vara Nina Persson men blir Amy Schumer?
– Det känns som att jag har pratat om Nina Persson i alla intervjuer. Om hon läser måste hon tänka: Vad har hon för problem? Det handlar om hur man ses som en person på scenen. Man önskar att man var lite sval och cool - och smal – och att allt hade varit så mycket enklare då. I stället är man svettig och röd i ansiktet. Men jag är ganska fine med att vara mig själv. Och jag älskar Amy Schumer också.

 

(källa Jan-Olov Andersson Aftonbladet) 

 

+++++++ (7/10)

 

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Love in the Milky Way 


Nytt album från Austins främsta Honky Tonk band, Mike and the Moonpies (180202)

Steak Night at the Prairie Rose är Austinbandet Mike and the Moonpies femte album och inspelad i Yellow Dog Studios i Wimberley utanför Austin. Adam Odor har producerat och inspelningen tog bara fem dagar!

"I brought in 10 songs that I had never played for the band and let Adam and the guys create and play whatever they wanted until each song found its home. This record is about the band. Everything you heard on this record is exactly what you'll hear night after night at a Moonpies show." säger sångaren Mike Harmeier i en intervju med Rolling Stone.

 

Bandet bildades av singer/songwriter och frontmannen Mike Harmeier för nästan 10 år sedan och har med sin Country Honky Tonk sedan dess gjort tydliga avtryck inom countrymusiken i Texas. Mike and the Moonpies består idag av John Carbone keyboards, Zach Moulton  steel guitar, Kyle Ponder trummor, Preston Rhone bas och Caitlin Rutherford på gitarr. Debutskivan The Real Country kom 2010 och sedan dess har Mike & the Moonpies haft fullt upp med spelningar och har bl.a öpnnat för Jason Boland & the Stragglers, Turnpike Troubadours och Johnny Lee. Albumet Mockingbird kom 2015 och blev bandets stora genombrott. Rolling Stone skrev då bl.a. “Mike Harmeier, the singer/songwriter-producer who fronts this hat-clad, Austin-based sextet, spent his youth soaking up the classic country, Western swing, and Southern rock pouring out of the jukebox of his grandfather's favorite honkytonk. He and his bandmates serve it back up on their third album, toasting influences that range from the Allman Brothers to George Strait … . Harmeier writes with a storytelling skill and specificity his heroes would appreciate – and the musicians play with the fire of the hard-touring band that they are.”

 

+++++++ (7/10)

 

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Steak Night at the Prairie Rose


Montgomery Gentry lever vidare (180202)

Cancer, divorce, bankruptcy, the death of his son and most recently the death of his best friend and duo partner Troy Gentry — the last few years haven’t been great to Montgomery. Or have they? The singer acknowledges that life has dealt him a few tough hands, but there’s nothing that resembles self-pity when he’s asked how he processes it all.

“I never question the man upstairs in my life, and I’m not gonna start now,” 54-year-old Montgomery says. “He’s given me a hell of a life and he’s let me be around a lot of people, man, that have changed my life. I’m not gonna question that at all.”

MoGent’s Troy Gentry died in a helicopter crash on Sept. 8, 2017, just two days after the duo had completed their latest album, Here’s to You, which drops on Feb. 2. For the most part it’s the straight-forward country rock album you expect from a two-some who’ve been at it for three decades, but songs like the radio single “Better Me” and “Drive on Home” sound different knowing that the 50-year-old is no longer here to perform them live. Montgomery recognizes this, and he did spiral during the weeks that followed the tragedy. But he realized his longtime friend would want him to continue, so he took stock of what was still in front of him and found perspective on everything he’s accomplished. The tragedies, the bad luck and the loss don’t begin to tell the full story.

“I’ve raised probably more hell than just about anybody in my life,” Montgomery says, cracking a smile. “Most people go: ‘I wish I’d have tried that.’ At the end of my life I’ll be like: ‘Well maybe I shouldn’t have tried that one.” (Källa Taste Of Country) 

 

+++++++ (7/10)


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Here’s To You


Steve Helms Band släpper sitt tredje album (180202)

Steve Helms är amerikansk singer-songwriter och gitarrist från Cleburne, Texas.  Hans nya album Can I Buy You a Country Song? är producerat av Benny McArthur som har varit George Straits gitarrist i nästan 30 år. Albumet är tillängnat Helms pappa, Leon Helms. Det är klassisk Texas country som Helms och hans band bjuder på och det är lätt att förstå att de är ett uppskattat liveband på dancehalls runt om i Texas. 

 

Det är tio år sedan Steve Helms släppte sin första skiva Nowhere But Texas. Titelspåret med samma namn har blivit något av en singnaturmelodi för staten Texas och spelas ofta på olika idrottsevenemang. Tex. spelas låten när baseballaget Texas Rangers spelar sina hemmamatcher i Arlington och när det är hästkapplöpningar på Lone Star Park i staden Grand Prairie söder om Dallas. 

 

++++++++ (7/10)

 

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Can I Buy You a Country Song?


In the Circles playlist for January 2018 (180128)

Ny musik från bl.a. Wade Bowen, Kody West, Jamie Talbert & the Band of Demons, Justin Mason, Alexis Taylor, Keith Urban, Steve Helms Band, Josh Ward och Austin Allsup.

 

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In the Circles playlist for January 2018 

Jesse Raub Jr

Austin Allsup


Ny skiva med Outlaw Country av kriminalvårdaren från Rhode Island! (180121)

Att ha jobbat inom kriminalvården de senaste 20 åren är inte den vanligaste bakgrunden för någon som spelar och sjunger Outlaw Country.  Men det är precis vad Mickey Lamantia från Rhode Island har gjort. Dessutom arbetar han fortfarande heltid och är en skötsam familjefar. Hans erfarenhet från den amerikanska kriminalvården gör att han väl känner till den värld som Outlaw Countryn oftast hämtar sina berättelser och inspiration ifrån. Även om Lamantia hela tiden varit på rätt sida gallret.

 

Lamantia började som tonåring spela i en släktings band och han har öppnat för bl.a Willie Nelson och Tanya Tucker. Men musiken fick stå tillbaka när han försökte bli polis(!) En besvärlig ryggskada satte stopp för den karriären och istället började han arbeta som vakt inom kriminalvården. 2015 bestämde han sig för att försöka ta upp sin musikkarriär igen. I en intervju har han förklarat varför han valt att spela Outlaw Country, 

”Being an outlaw is doing your own kind of music. It's not about drinking, it's not about guns, it's not about any of that kind of stuff. Is every song 100 percent about me and what I've done in life? Ninety-eight percent of it is who I am."

Hans arbete inom kriminalvården har inspirerat hans låtskrivande, ”Prison is a lonely place. There's four gray walls and nothing but time to think about things. That goes for if you're living there or working there. So if I have a problem at home and I get in a fight with my wife, I go to work for an eight or 16-hour day and nothing takes my mind off that fight. You take your problems to work, and sometimes you take your work home. The lifespan of a correctional officer is five years after you retire” 

 

Lamantia har precis släppt sin andra skiva Every Bad Habit som är 100% Outlaw Country och innehåller som en recensent beskrev det ”all the elements of outlaw country, patriotism, family, whiskey and firearms”. Eftersom Lamantia arbetar heltid och lever ett familjeliv med två barn kan han inte turnera så mycket som krävs för kunna slå igenom som artist. En flytt till Nashville eller Austin för att få fart på musikkarriären är inte heller aktuellt. Istället använder sig Lamantia av sociala medier för att nå ut med sin musik. Han är regelbundet gäst på en show som sänds via Facebook, Whiskey Wednesdays, som sponsras av ett spritmärke, Sons of Liberty. Han spelar ofta live från deras destilleri och dessa spelningar brukar ha mellan 10 000-40 000 tittare! Videon till låten How Do I Say Goodbye har över 1 miljon visningar på You Tube och över 25 000 delningar på Facebook. Hans första skiva Outlaw Life var den fjärde mesta förbeställda skivan på iTunes i två veckor. Dessa framgångar har varit möjliga eftersom Lamantia aktivt kontaktar sina fans och lyssnare och ber dom i sin tur ta kontakt med radiostationer mm för att önska hans musik. “I spend four to six hours per day navigating my social media pages. It ain’t easy,” säger Lamantia som visat att det går att nå ut med sin musik trots begränsade resurser och utan stöd från ett stort skivbolag med en välsmord marknadsavdelning som backar upp. 

 

Förutom att bara fortsätta skriva och spela sin musik har Lamantia en stor dröm med sin musikkarriär, att få uppträda på The Opry i Nashville med sina föräldrar sittande i publiken. Men annars fortsätter han leva sitt familjeliv som skiljer sig från andra Country Outlaws ”I’ve worked 19 years as a prison guard and if I have to do 19 more to support my family, I’ll do that.”

 

++++++++ (8/10)

 

 

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 Every Bad Habit 

Mickey Lamantia