In 2016, there were signs that the Dixie Chicks were ready for a full-scale return. They made a world tour, and they performed with Beyonce at that year's Country Music Association Awards. There were reports this summer, as yet unconfirmed, that the Dixie Chicks were back in the studio, recording what would be their first new album in more than a decade.
Dixie Chicks Taking The Long Way Full Album Zip
Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 1963 playing in a more or less conventional jazz manner, but it took a long time for the South African township music he evolved in the 1970s to be accepted outside of Africa. This album was one of the very first to be made in America and its impact was immense, its melodicism, warmth and simplicity brought something new and refreshing to the often overheated, testosterone-filled gladiatorial pit of small group improvising to established harmonic patterns. As Jelly Roll Morton had shown 50 years earlier, sometimes the best comes from a truly group effort. (KS)
Touring in support of their fifth studio album, Airborne, The Flying Burrito Brothers performed at the legendary New York City venue, The Bottom Line on August 18, 1976. This 12-track set features many of their classic songs alongside a few C&W standards. The group's lineup consisted of Skip Battin and Gene Parsons (both ex-Byrds band members), along with Gib Guilbeau, Joel Scott Hill and original Burrito, pedal steel legend, "Sneaky" Pete Kleinow. This live recording is previously unreleased.
Havoc and Bright Lights marked a rebirth for Alanis Morissette, the first album she recorded as a newlywed mother. Delivered a full eight years later, Such Pretty Forks in the Road is the second act of the story, an album about learning how to find contentment at middle age. Morissette wrestles anxieties, origin stories, addictions, parenthood, and partnership throughout the record, searching for reasons and a diagnosis, achieving a sense of peace with having her sense of calm being disturbed on occasion. Appropriately for an album that's decidedly focused on an inward journey, Such Pretty Forks in the Road simmers, never boils. Hooks force themselves into the center stage on "Reasons I Drink" -- the rare tune here that could be called catchy -- but otherwise melody takes a back seat to mood. This doesn't necessarily mean Morissette's words are pushed into the spotlight. Such Pretty Forks in the Road is lacquered in immaculate gloss, a sound that accentuates the interior journey of the songs without quite inviting exploration. A close listen reveals all the troubles rolling around Morissette's mind, but the nice thing about Such Pretty Forks in the Road is how its smooth, placid surface makes the record feel like an album-length guided serenity meditation.Side A1. Smiling2. Ablaze3. Reasons I Drink4. Diagnosis5. Missing The Miracle6. Losing The Plot
The opening track on 1972's Super Freak is a brilliant, nearly side-long medley of three tracks from Curtis Mayfield's Superfly: the title track, "Pusherman," and, of course, "Freddie's Dead." Heavy, druggy, and psychedelic, with thick organ and wah-wah guitars, the medley sounds more like the psychedelic soul of War or even Funkadelic than the sparkling Latin jazz of Pucho's earlier albums. The rest of Super Freak is a little lighter in tone, but this is still the most groove-oriented and least overtly Latin jazz-oriented of this group's albums, trafficking instead in shuffling grooves like "Oak Hurst's Art" and vibes-led ballads like "Judy's Moods" and "One More Day." Latin jazz purists may balk, but this later became a classic of the '90s acid jazz movement, which some sources date to the U.K. hip-hop group Galliano pinching a sample from this album's version of "Freddie's Dead" for the 1989 single "Frederick Lies Still." -AllMusicThis is its first pressing in twenty years and comes to record stores first as part of RSD Black Friday.
Trailer Bride's 1996 self-titled record is a long-lost relic of the blooming Chapel Hill, North Carolina music scene of the '90s. Superchunk, Polvo, Archers of Loaf and other indie rock darlings were leading the town's indie rock movement while Southern Culture on the Skids were pushing the alt-country genre forward. Then comes Trailer Bride who combined both of those worlds with a gothic, lo-fi sound that centers around Melissa Swingle's atmospheric vocals and cryptic lyrics. Swingle started Trailer Bride following the demise of her band Pussy Teeth and would later go on to form the indie rock duo The Moaners with Laura King (Bat Fangs, Speed Stick), but the dark, southern sound that defines Trailer Bride's debut record provides a mystifying listening experience a quarter-century later. No Depression said it best in their 1997 review: "They're impossible to describe, but whatever you wanna call it, they sound really good." The album is available for the first time ever on vinyl for Record Store Day Black Friday 2022. This 25th anniversary edition is pressed on cloudy orange vinyl and remastered for vinyl. Limited to 1,500 copies worldwide.
Keith has released 19 studio albums, 2 Christmas albums, and 5 compilation albums, totaling worldwide sales of over 40 million albums. He has charted 61 singles on the Billboard Hot Country Songs charts, including 20 number one hits and 22 additional top 10 hits. His longest-lasting number one hits are "Beer for My Horses" (a 2003 duet with Willie Nelson) and "As Good as I Once Was" (2005), at six weeks each. Keith was awarded the National Medal of Arts by President Donald Trump in a closed ceremony alongside Ricky Skaggs on January 13, 2021.[3]
On October 25, 2011, Clancy's Tavern was released. The album included the single "Made in America", written by Keith along with Bobby Pinson and Scott Reeves, which went to number 1. Following it was "Red Solo Cup", which had previously been made into a music video which became popular. Upon release as a single, "Red Solo Cup" became Keith's best-peaking crossover, reaching number 15 on the Hot 100. The album's final single was "Beers Ago" at number 6 in 2012. In December 2011, Keith was named "Artist of the Decade" by the American Country Awards.[23]
Maybe this was the problem all along: It's easy to love something in its perfect, self-contained form. Natalie, Martie, and Emily were never supposed to speak beyond their songs. They were never supposed to represent anything other than an ideal, a perfect narrative carefully constructed to reach a certain audience. The White. The Rural. The Proud. The Tongue-in-Cheek. The Fiercely Loyal. The Self-Identified Free and Brave. The Spunky, but Never Blatantly Deviant.
Country music, at least in the eyes of its most diehard fans, isn't supposed to be cosmopolitan. Rather than taking us to places we've never been, the genre is internally focused, allowing us to find sanctuary in what is most familiar, the houses that built us, as Lambert puts it. But contrary to its own celebrated origin stories, country music isn't the exclusive heritage of Whites alone. According to ethnomusicologist Dahleen Glanton, it emerged through the hybridization of "ballads and folksongs brought to the South by immigrants from the British Isles in the 18th and 19th centuries and the rhythmic influences of African [slaves]." However, Nashville and country music canons have long failed to acknowledge Black-American contributions to the genre. Thus, Black country musicians have been rendered invisible to country's predominantly White audience. "Daddy Lessons" resists this erasure, and the culture of White supremacy within the genre. This may be why many in the country music community found the song, and especially the collaborative performance, so threatening.
The asterisks following the words in the title to Mary Chapin Carpenter's seventh album of new material, Time* Sex* Love*, hide more words: the full title is "Time Is the Great Gift; Sex Is the Great Equalizer; Love Is the Great Mystery." If that sounds a bit overdone, it accurately introduces a collection given over to big statements. After four and a half years, Carpenter weighs in with a 73-plus-minute disc that thoughtfully examines important issues. Songs like "Simple Life" and "Maybe the World" take on the uncertainty of life at midstream, a subject also addressed in specifically careerist terms in "The Long Way Home" and philosophically in "Late for Your Life." But if that's the "time" part of the record, "sex" and "love" take primary place. Simply put, the better part of the album consists of torch songs that depict romantic and sexual obsession. Titles like "Swept Away" and "Slave to the Beauty" reveal the theme, and even attempted recoveries like "This Is Me Leaving You" reinforce it. The narrator of that song sounds like she'd be happier singing, "This is me crawling back to you." Working against the theme are the musical elements. Recording in Sir George Martin's Air Studios, Carpenter harks back to the Beatles' Rubber Soul for the album's sound, which lightens the mood. And her singing never supports the victimization in her lyrics, always maintaining its calm, murmuring tone. But the point is unmistakable. It's hard to see what any of this has to do with country radio, which, in any case, has been increasingly resistant to Carpenter. This album may not be a country blockbuster, ending the sleight of hand by which an artist who is essentially a folk-rock singer/songwriter has succeeded in Nashville, but it is a mature examination of life and love. 2ff7e9595c
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