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Category Archives: country fusion

mp3 320 kbps | 95 MB | UL | OB

The White Mansions sing of redemption, love and heartbreak, all firmly anchored in the country music tradition. If you like Hank Williams, The Byrds’ Sweetheart of the Rodeo, Neil Young and Merle Haggard then you’ll like The White Mansions.


This 13-song CD by The Riffing Cowboys (named after Hank’s band, The Drifting Cowboys) features the likes of singer and guitarist Dan Baird, ex of the Georgia Satellites; guitarist Warner Hodges and singer Jason Ringenberg of pioneering cowpunkers Jason and the Scorchers, and guitarist Eric “Roscoe” Ambel, who played with The Del Lords and toured in Steve Earle’s band in recent years.Hank ‘n’ Roll represents the world’s first album devoted to rock ‘n’ roll versions of Hank Williams’s songs. Conceived and organized by Ottawa-based guitarist and Hank aficionado Graham Young, this tribute pays homage both to Hank and to rock ‘n’ roll.Produced by Robert Libbey, the tribute contains such Hank classics as “Hey Good Lookin’” and “Honky Tonk Blues,” but the album also presents less familiar Hank compositions such as “Weary Blues From Waitin’” and “My Sweet Love Ain’t Around.”The recording relies on musicians who know how to adapt Hank’s country songs to cranked up rock ‘n’ roll. “Warner Hodges and Jason Ringenberg founded country punk in the early 1980s,” says Young, “so their participation was a blessing. And Dan Baird and Eric Ambel are two of the most rock ‘n’ roll savvy veterans gigging today.”…

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red“The Red Stick Ramblers are pure joy. They’re a great band, crafty songwriters and faithful interpreters of the most authentic Cajun traditions.” -Linda Ronstadt

Recommended if You Like:

Bob Wills
Dan Hicks
Django Reinhardt

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hTwo CD release from singer, songwriter and multi-instrumentalist Hank Williams, III. Brothers Of The 4×4 is a traditional Country album. Hank3 wrote, recorded, produced, and played all of the drums and acoustic guitar on the record, while using his stable of friends for all of the lead parts, including Andy Gibson, Zach Shedd, Billy Contreras, David McElfish, Daniel Mason, and a guest appearance by banjo champion Leroy Troy.

mp3 192 kbps | 126 MB | UL | CL | TB


TEDAs soon as the “play” button was hit, it seemed certain Springsteen had gone country. This album is hard to label. This is supposed to be a fusion of styles melted into rockabilly, but the label just doesn’t fit for the first six songs. The instrumentation is good throughout, a good, hard, driving beat on most of the songs (most of them written by Roddy). But the lyrics on that half dozen are throwaways. Roddy’s voice doesn’t grab, but on the last half of the album the mix of lyrics, voice, and music is much better. Two numbers (“Since I Lost You” and “Face The Night”) have a Bob Seger feel to them. ” I Was The One” and “Full Circle” get closer to country root. “New Bluebird” is a rocker with western swing overtones, and “Relaxin’” is a laid back piece with the same kind of musical (though not lyrical) feel of Fever. Not a “must buy”, but not a loser either.

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BRWhen Brian Burns set out to create The Eagle & the Snake, he said he had always wanted to make a completely cowboy album. In fact, that’s just what he did, using compelling storytelling mixed with the rich and vibrant history of his home state of Texas. The collection includes songs written by the likes of the great Marty Robbins and Hoyt Axton as well as songs penned by Burns himself, a prolific singer/songwriter and figure in Texas music. Burns’ unique approach even takes on a written letter-put-to-music from Lonestar history; the letter was written by Colonel William Barret Travis during the siege of the Mexican Santa Ana. As with the other cuts, Burns’ rich voice takes fiction to reality. The fiesta-Texas Spanish guitar and accordion gallop through “Gallo del Cielo,” and Burns provides the tour of Texas on his own punchy version of “I’ve Been Everywhere.” One critique of the album is that some of the material seems a bit long, some over six minutes in length. This isn’t always a negative but is risky with today’s audience. Indeed, Burns has himself a cowboy album, and a worthy one at that.

mp3 256 kbps | 123 MB | UL | TB | CL


bigTracks:

1 – Vince Gill – Country Boy (feat. Paul Franklin and Tommy White)
2 – Rodney Crowell – That’s All It Took (feat. Steve Fishell)
3 – Duane Eddy – Blue Jade (feat. Dan Dugmore)
4 – Willie Nelson – Are You Sure
5 – JayDee Maness – This Cold War With You
6 – John Anderson – Half A Mind (feat. Buck Reid)
7 – Greg Leisz – Wild Mountain Thyme
8 – Albert Lee – Rainbows All Over Your Blues (feat. JayDee Maness)
9 – Doug Jernigan – Buddy’s Boogie
10 – Raul Malo – Night Life (feat. Randle Currie)
11 – Chris Stapleton – Feel So Bad (feat. Roosevelt Collier & Steve Fishell)
12 – Joanie Keller Johnson – Someday Soon (feat. Mike Johnson)
13 – Norm Hamlet – Invitation To The Blues
14 – Little Jimmy Dickens – When Your House Is Not A Home (feat. Dan Dugmore & Duane Eddy)
15 – Gary Carter – Shenandoah
16 – Duane Eddy – Mansion On The Hill (feat. Dan Dugmore)

mp3 192 kbps | 80 MB | UL | TB |CL


CHThe first thing that will surprise you is that Chris Shiflett is the lead guitar player of the Foo Fighters.  The second thing that will surprise you is that this Country Rock outfit is a hell of a band, and this is no one and done side project for an artist that is known for walking on the harder side of the rock spectrum.
All Hat, No Cattle, is a brilliant, exacting tribute to The Bakersfield Sound, and a spot on homage to artists like Buck Owens, Dwight Yoakam, and even Merle Haggard. There is a slightly alternative Dave Alvin vibe to the record, that gives the album a more fresh and up to date sound, and it sounds like there was a hell of a good time in the recording studio, and the live shows for this band are most probably off the chain.

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thth500Acony Records has announced a June 28, 2011 release of The Harrow & The Harvest, new album by Gillian Welch.   The set features ten new songs recorded at her own Woodland Sound Studios in Nashville, TN and was produced by David Rawlings.  The Harrow & The Harvest, “is a new Southern sound,” wrote Colin Meloy of The Decemberists, “with the sort of songs you wouldn’t be surprised to hear issuing from some verdant, wooded hollow in Appalachia;  Songs you’d expect to hear hollered from an Asheville grange hall, all too late in the evening.  Songs with the wry humor of the back porch.  Listen to this record with the lights low.  Listen to it on an old radio, cradled next to your ear.”

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Billy Contreras – fiddle, mandolin
Andy Gibson – dobro, steel guitar, mandolin, upright bass
Daniel Mason – banjo
Daniel Payne – acoustic and electric guitar, mandolin , vocals, clawhammer banjo
Chris Scruggs – upright bass

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Eight Years ago Sherrie Austin decided to step away from her artist career to focus on being a songwriter. In that time she’s scored cuts on albums from artists you may have heard of before; The Oak Ridge Boys, George Strait, Blake Shelton, Trace Adkins and Tim McGraw.  Other singers to record her songs include Tim Rushlow, Danielle Peck, Tammy Cochran, Trick Pony, Karli Whetstone and Ronnie Milsap.With her desire to be out front of the fans once again, Sherrie went to work to record some new music and the results of that labor is this, her first independently released (on her own label) album Circus Girl. The title track has an energizing melody that just screams to be played over and over. Written with Charity Daw and Will Rambeaux, the song’s lyrics tell a story of a “lost boy” and “circus girl,” two people with personalities that are too big for their hometown and how they live in a different ‘world’ than most people. The words are really a metaphor for living your own life to your own beat of your drum and not living for other people.

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wWith his brand-new, full-length album, Rabbits Motel, Woody Pines returns to the roads that have long inspired him, packing along his many inspirations, from Bill Haley to Leadbelly, Chuck Berry to Hank Williams, and Sam Cook to Doc Watson. True to form, most of the songs on the album are original, though we challenge you to tell us which ones just from listening. This is juke joint music, the kind of roadhouse songs that are made to get people up and dancing. With Rabbits Motel, Woody took the time to really use the studio to his advantage, bringing a much harder edge to his music. Still thoroughly grounded in the blues and rags of before, this album has a strong independent streak. The song “Hobo & His Bride” starts from a folk song foundation but winds up a kind of epic tale about young lovers. “Railroad Vine” speaks of long train travels while channeling a dusty Southwest vibe. The infectious opening song “Like I Do” bumps along like a pickup on an old dirt road, singing about shattered relationships. Woody Pines’ new full studio sound leaves the street corner behind, but opens up rich new possibilities.

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johnpThings don’t get much schmaltzier than a Dobro played Hawaiian style, which is why it’s fitting that Cowboy Jack Clement offers one up on “The Blue Side of Lonesome,” Leon Payne’s dated but charming classic–only one such excursion into blue-haired reminiscing on an album of over-the-top sentimentality. It was the legendary Clement who paired smart-ass folkie Prine and bluegrass totem Wiseman, but the singers themselves chose the repertoire, which reads like songs people of a certain age might pick on a dry drunk. The tunes range, believe it or not, from religious hymns to covers of Patti Page’s 1957 hit “Old Cape Cod,” Kris Kristofferson’s underrated “Just the Other Side of Nowhere,” and Tom T. Hall’s “Old Dogs, Children, and Watermelon Wine,” with a little Elvis and Ernest Tubb thrown in for good measure. It’s fitting that Prine and Wiseman revisit the Hall standard, since oddly, both singers vocally favor the Nashville storyteller from time to time. But one has to question their use of the Grand Ole Opry’s Carol Lee Singers, who show up on several cuts and seem, well, just bizarre on a John Prine record, even as they evoke the lushly famous Nashville Sound of the 1960s. Suffice it to say, this is a quirky project, and if Prine’s scratchy baritone and Wiseman’s melodic tenor sometimes overlap to where you can’t tell who’s singing what, it doesn’t much matter. You’re listening to two new pals having what seems to be the time of their life.

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Dan Hicks & His Hot Licks (1972-Striking It Rich) - frontStriking It Rich features 14 more sides of hipster acoustic swing from Hicks and his helpmates, including the fan favorites “I Scare Myself” and “Canned Music.” The band’s musicianship remains mostly on the mark, but there are elements of the album that go beyond kitsch and the humor here is considerably darker than in the past — perhaps early signs of fading inspiration? The jazz flourishes of “Flight of the Fly” are nice, but not enough to lift this album’s darker spirits. “Moody Richard (The Innocent Bystander)” may be among the most well-known numbers on this album, but with its string arrangements and uncharacteristically slick production, it suggests the band wasn’t always above playing the commercial game. Maybe the album’s title was meant as more than just wishful thinking.

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LILinda Gail Lewis is the younger sister of one of music’s great performers, Jerry Lee Lewis. After decades of lingering in his shadow, she finally achieved a measure of fame in 2000 with a critically acclaimed album of duets performed with Irish rocker Van Morrison. Living a life every bit as tumultuous as her piano-thumping brother’s, Lewis has toured the world repeatedly, married eight times, nearly died from drug overdoses, and has fought the ongoing battle of family-versus-career. In the course of her musical career she has written and sung a variety of music, some good and some comically bad. Her style, which has embraced hard-core honky-tonk music, 1950s rock ‘n’ roll, and touches of Memphis soul, has made her a favorite in Europe.

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LAFantastic Voyage continues its mission to unearth and collate America’s huge regional rock ‘n’ roll heritages by heading down to Louisiana for Later Alligator, a rare gumbo blend of Big Easy R&B, Cajun country, rampant blues-boogie and Bayou swing, served up over two discs brimming with lesser-heard originals and mouth-watering obscurities on CD for the first time.
Compiled with Wild Wax Show DJ ‘Jailhouse’ John Alexander and knowledgably annotated by Lucky Parker, the set deftly demonstrates the fabulous range of styles running rampant in the Pelican State in the 1950s-60s, kicking off and winding up with Louisiana’s most infamous son, Jerry Lee Lewis. The unmistakably rolling ‘Lewis Boogie’ was originally the flip of post-scandal statement, The Return Of Jerry Lee Lewis, while his version of Hank Williams’ ‘Jambalaya’ is the ultimate crowning pinch of gumbo spice on a set whose fellow rockers include ‘Suzie-Q’ titan Dale Hawkins, Bobby Charles [with the title track], Rod Bernard, Clarence Garlow, Roy Brown, Frankie Ford, Bobby Marchan, Fats Domino, Chris Kenner, Tibby Edwards, Johnny Ray Harris, Roy Montrell, Champion Jack Dupree, Mickey Gilley, Billy Blank, Ruckus Tyler, Lou Millet, Clarence ‘Bon Ton’ Garlow and many more. Several tracks are drawn from the local independent labels including Goldband, Jin, Ace, Ram and Vin, introducing a fervently attractive streak for record collectors as many are on CD for the first time.
As with all Fantastic Voyage expeditionary releases, the set’s allure is further hot-wired by oddities and curios, here including a 13-year-old Dolly Parton wailing ‘Puppy Love’ or the Cajun accordion swamp gas of Cleveland Crochet’s ‘Sugar Bee’. Strangest of all is Jay chevalier, crooning about the Cuban missile crisis over guitar and bongos before a major explosion at the end. There’s a tangible spirit and energy coursing through these tracks rarely found in today’s music which was even unique to the state of Louisiana back then; it’s own brand of spiced-up, cross-fertilising rock ‘n’ roll and country twang, all bathed in steamy swamp fever. To have so many towering examples gathered together on one set is cause for celebration and no-holds-barred whoopee.

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jaIn 1981, as the legend goes, Jason Ringenberg left his daddy’s Illinois hog farm for the bright lights of Nashville and promptly stumbled upon guitarist Warner Hodges and bassist Jeff Johnson in a gutter. With drummer Perry Baggs, they became Jason and the Nashville Scorchers. The original Reckless Country Soul — a Hank Williams classic, a Jimmie Rodgers number and a pair of originals, all recorded live to 4-track and issued on a modest 7-inch by a local independent label — was clearly a formative work. The reissue — augmented by a leftover from the band’s first session, five outtakes from studio time later in ’82 and an unlisted bonus — is an entertaining snapshot of the boys rooting around for a style to call their own. In a wild and randy cover of Carl Perkins’ “Gone Gone Gone” and the ripsnorting medley of Kostas’ “I’d Rather Die Young” and George Morgan’s “Candy Kisses,” they stumble right into it.

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tTejas Brothers third studio release, Live a Little More, hits it out of the park. Produced by Lloyd Maines, the album features guest appearances by Augie Meyers, Larry Joe Taylor & Deryl Dodd. Live a Little More is a toe tapping, heart pounding exhibition of fun! With hit tracks, Don’t Be So Mean & Swerve, Tejas Brothers deliver a pure authentic sound from deep in the heart of Tejas and reminds us to have fun and Live a Little More.

mp3 160 kbps | 43 MB | UL | CL