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Traditional honky tonk may be dead, but don't tell the Hacienda Brothers that -- they not only think it's still alive and kicking, they play the stuff as if their lives depended on it. An inspired collaboration between rough-hewn singer/songwriter Chris Gaffney and Paladins guitar picker Dave Gonzalez, the Hacienda Brothers' debut album gets marvelously sympathetic production from Memphis R&B legend Dan Penn, who also lends his estimable songwriter skills to two cuts, and obviously encouraged the band to walk the fine line between old-school country and old-school soul, hitting an emotional sweet spot that's deeply affecting. If Gaffney doesn't have the smoothest vocal instrument in the world, it richly communicates in the manner of Waylon Jennings and Johnny Paycheck, and he writes hurtin' songs with the best of them, while Gonzalez's sharp, concise guitar lines would have done any number of Bakersfield pickers proud. The Hacienda Brothers don't bring a wealth of new textures to the sound and structure of classic country, but they play in the time-honored manner with grit, soul and passion, and that's what has always set the best of this music apart; this album isn't the sound of two guys rehashing the past, but proving how much can still be said within the boundaries of the honky tonk style, and it's a true pleasure to hear. ~ Mark Deming
Hacienda Brothers: Chris Gaffney (vocals); Dave Gonzalez (baritone, acoustic guitar, electric guitar); David "DB" Berzansky (steel guitar); Hank Maninger (bass guitar).
Additional personnel: Dan Penn (acoustic guitar); Spooner Oldham (piano); Richard Medek (drums); Jim Lauderdale (background vocals).
Uncut (p.106) - "[T]hey sound like Muscle Shoals veterans stirring snake oil with soul."
Dirty Linen (p.63) - "This is a disc filled with what might be 'Southwestern Soul,' a bunch of old-time country with a huge chunk of soul." Hacienda Brothers Music Review  SUPER SOUND
Bought the CD before I even heard the band at a live show. See them live and listen to the CD to keep the memory going. The band really rocks live, looking forward to the next release...June/July 2006.
Submitted by CJR (Japan)
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 Disappointed, but Would buy next CD
Sad to say, I was disappointed with this CD. The quality is more like that of a demo, rather than a finished product. There were a couple of pretty good songs, most notably those featuring background accordian. My suggestion would be on the next CD: Don't be reluctant to offer up your Arizona-Sonora roots. I will buy their next CD.
Submitted by roman (Mesa, AZ)
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Purchase Hacienda Brothers CD To buy, Click on price to add to cart | VH1 Presents The Corrs Live In Dublin CD (2002)
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This audio document of The Corrs' Dublin homecoming concert has pretty much everything fans of Irish pop could wish for, including an appearance from Bono in his earthly incarnation, fresh from an audience with President George W. Bush. It's to the band's credit that the charismatic singer fails to steal the show, despite creditable efforts via an anthemized ...
| | Pete Anderson Daredevil CD (2004)
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Pete Anderson's third solo outing has been a long time coming, and one gets the distinct impression that it's the album he's been itching to make all along. Given that Daredevil is completely instrumental, the guitar geeks already have something to salivate about. But there's much more to it than that. Anderson played the vast majority of instruments, with help in a few places from multi-instrumentalist Skip Edwards and minimal assistance from trumpeter Lee Thornberg and fiddler Donny Reed as well. There's also some string work performed by some mysterious entity know as "the Skipper." If the Latin Playboys were an instrumental country band, they would almost certainly sound something like this. While it's true that Anderson's guitaristry is signature to all he does, he understands dynamic, rhythm, and atmosphere and texture as well. ...
| | Los Lobos Ride This: The Covers EP CD (2004) Extended Play
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COVERED features cover versions of songs by artists who contributed to Los Lobos's 2004 album RIDE.
Los Lobos are, quite simply, one of America's great rock bands, and versatile enough to put their stamp on practically any sort of music they choose. Anyone looking for proof of this assertion ought to pick up Ride This: The Covers EP, in which the band runs through seven tunes from other artists, most of which were recorded during the sessions for Los Lobos' fine 2004 album, The Ride. Rambling from the late-night creep of Tom Waits' "Jockey Full of Bourbon" to the primal roots rock wail of the Blasters' "Marie Marie," Ride This finds East L.A.'s finest sounding tough, passionate, and soulful throughout. Top honors here go to their emotional take on ...
| | Lucinda Williams Live @ The Fillmore West CDs (2005) Digipak
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Never one to tread the expected path, Lucinda Williams followed her big breakthrough album, CAR WHEELS ON A GRAVEL ROAD, with a pair of low-key records full of sad, quiet, fragile songs (interrupted by the occasional ...
| | John Prine Fair & Square CD (2005) Bonus Tracks
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FAIR & SQUARE's release was highly anticipated by John Prine fans, as the veteran singer/songwriter hadn't recorded an album of new songs in 10 years (the preceding IN SPITE OF OURSELVES was mostly cover tunes). Happily for both Prine and his contingent, FAIR & SQUARE represents that most coveted of phenomena, the Return to Form. Though 1995's LOST DOGS & MIXED BLESSINGS was not without its virtues, some tracks were marred by overproduction. Here, though, the arrangements are scaled back down to Prine's comfort zone, appropriately ...
| | Hacienda Brothers What's Wrong With Right CD (2006)
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The second album from the Hacienda Brothers, 2006's What's Wrong with Right, is cut from the same cloth as the self-titled 2004 debut from Chris Gaffney, guitarist Dave Gonzalez, and their musical cronies, but if the approach is very much the same, there's no arguing that they've gotten even better at fusing classic country and old-school soul into one emotionally powerful package. If one wants to pinpoint a difference this time out, the R&B side of the mixture has been beefed up, and Chris Gaffney's vocals communicate the necessary passion and heartache with genuine force and a fine actor's sense of drama; while Gaffney has always ...
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| | Roger Eno Familiar CD (1994)
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The Familiar is the first meeting between composer, multi-instrumentalist, and arranger Roger Eno -- yes, brother of Brian -- and singer, lyricist, and woodwind player Kate St. John of the Dream Academy. St. John's lyrics and voice adorn five of the 13 songs here, the rest feature Roger Eno's piano accompanied in various settings, some with woodwinds and strings, such as the haunting and lovely "The Wonderful Year," a small chamber piece that contains a gorgeous cello solo by Sarina Sobirovena. St. John's vocals are small, nearly precious, but so wrap themselves around Eno's compositions that they are, in essence, inseparable from them. Take "We Stay Still." As her oboe and the strings slip almost undetectable under his piano, her multi-tracked vocals phrase metaphysical ponderings that sound perfectly natural. Call this music what you will, but pop it's not. It's Baroque, it's elegant, and it's self-conscious, but it's also memorable to listen to -- there's plenty here to engage a listener, however loosely. Producer Bill Nelson brings his guitar to a number of the tracks like this one and the airy opener, "Our Man in Havana"; brother Brian's treatments and synthesizer very casually grace a few numbers as well. There is a sheer musicality here that works despite the rather restrained conceptual and compositional elements, and will no doubt lend it the favor and small mystery of repeated listenings. Fans of Virginia Astley's and Ryuichi Sakamoto's more classical-oriented material will find much to like on The Familiar. ~ Thom Jurekų/
The Familiar is the first meeting between composer, multi-instrumentalist, and arranger Roger Eno -- yes, brother of Brian -- and singer, lyricist, and woodwind player Kate St. John of the Dream Academy. St. John's lyrics and voice adorn five of the 13 songs here, the rest feature Roger Eno's piano accompanied in various settings, some with woodwinds and strings, such as the haunting and lovely "The Wonderful Year," a small chamber piece that contains a gorgeous cello solo by Sarina Sobirovena. St. John's vocals are small, nearly precious, but so wrap themselves around Eno's compositions that they are, in essence, inseparable from them. Take "We Stay Still." As her oboe and the strings slip almost undetectable under his piano, her multi-tracked vocals phrase metaphysical ponderings that sound perfectly ...
| | Two Dollar Guitar Wear And Tear Of Fear: A Lover's Discourse CD (2006)
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