Lee Ann Womack - There's More Where That Came From CD

There's More Where That Came From album for sale Alison Krauss & Union Station: Alison Krauss; Ron Block (vocals); Barry Bales (bass instrument, background vocals); Dan Tyminski, Jerry Douglas . In a world where popular country music has lost much of its roots, Alison Krauss stands out among the pack because she remains true to the bluegrass traditions of Bill Monroe, Earl Scruggs, Lester Flatt, and others. However, more than just a revivalist, Krauss also has an unerring ear for elegant pop music. LONELY RUNS BOTH WAYS features, essentially, two types of music--burning-hot bluegrass compositions and delicate, heartrending country ballads. On the latter, Krauss's gossamer voice sears with deep emotion and lyrical clarity. For example, the last song on the album, "A Living Prayer," is a gospel lullaby featuring Krauss belting out long, legato notes over austere acoustic guitar accompaniment. In contrast, the instrumental piece "Unionhouse Branch" explores traditional Americana. Each Union Station member is featured on this track, and the level of technical skill displayed by these musicians (particularly by dobro player Jerry Douglas) is truly astounding. In many ways, this band represents a pinnacle in modern bluegrass. As for Krauss, her fiddle playing is understated on this release, but her beautifully penetrating voice more than makes up for it. Personnel: Alison Krauss (vocals, fiddle, viola); Dan Tyminski (vocals, baritone, guitar, mandolin); Barry Bales (tenor, bass voice); Ron Block (guitar, slide guitar, banjo); Jerry Douglas (lap steel guitar, dobro). Audio Mixer: Gary Paczosa. Recording information: 17 Grand Recording, Nashville, TN; Blackbrid Studio; Minutia Recording Studio. Photographer: Norman Jean Roy.

There's More Where That Came From buy CD music After Toby Keith achieved household-name status with two chart-topping albums full of defiant songs and right-wing politics, listeners may have expected more of the same. With 2005's HONKYTONK UNIVERSITY, however, Keith matches his outlaw aspirations to a set of tunes that remind his audience that he is a country singer first and a media icon second. The opening "Honkytonk U" is an autobiographical tune that sounds like an outtake from Waylon Jennings's HONKY TONK HEROES, complete with phase-shifted guitar and a four-in-the-morning vocal delivery. Many of the other tunes here have a 1970s vibe as well, but with a poppier slant; the smooth melody of "Knock Yourself Out" recalls Ronnie Milsap, while the breezy feel of "Big Blue Note" wouldn't sound out of place on a Jimmy Buffett record. "You Caught Me at a Bad Time" is so sensitive, fans might be hard-pressed to believe this is the same guy who sang "The Taliban Song." Of course, none of these stylistic variations would work if Keith wasn't a top-notch writer with a resonant baritone. Lurking behind the super-stud image is a master craftsman capable of delivering rowdy barroom anthems and laid-back love ballads with equal panache. Recording information: Loud Recording, Nashville, TN; Oceanway Nashville, Nashville, TN; Shrimp Boat Sound, Key West, FL; Starstruck, Nashville, TN; Upstairs Productions, Oklahoma City, OK. Photographer: Richard McLaren. Personnel: Toby Keith (vocals); Merle Haggard (vocals); Dan Dugmore (steel guitar); Mickey Raphael (harmonica); Steve Nathan (piano, Hammond b-3 organ, keyboards); Clayton Ivey, Tony Harrell, Gordon Mote (piano, keyboards); David Hungate, Glenn Worf (bass instrument); Shannon Forest, Shannon Forrest (drums); John Wesley Tyles, Julian King (background vocals); Mark Casstevens, Scotty Emerick, B. James Lowry, Biff Watson (acoustic guitar); Jerry McPherson, Johnny Hiland, Brent Mason , Brent Rowan (electric guitar); Paul Franklin (steel guitar); Eddie Bayers (drums); Wes Hightower (background vocals). Audio Mixer: Julian King.

There's More Where That Came From songs Coming after the relative commercial disappointment of 2002's pop-oriented CRY--and, not at all coincidentally, Gretchen Wilson's rise as the new Everygirl of country--Faith Hill's FIREFLIES is a blatant attempt to ditch the singer's glamourpuss image and reassert her country roots, such things having become fashionable again. This isn't a problem, however: Shania Twain-like chart pop wasn't Hill's forte, and FIREFLIES brings her back where she belongs. The first single, "Mississippi Girl," is Hill's best song in years. A Dixie Chicks-like piece of sweet country-pop with a few bluegrass trimmings, the tune was written by country hitmaker John Rich. Rich also penned some of the other standouts here, like the laid-back "Sunshine and Summertime" and "Like We Never Loved At All," a dramatic, '70s-style duet between Hill and her husband Tim McGraw. Three other songs are from the catalogue of alt-country singer/songwriter Lori McKenna, taking Hill into a folkish vein similar to Mary-Chapin Carpenter. The overall lack of bombast suits Hill's girl-next-door delivery perfectly, making FIREFLIES a much-needed artistic comeback after a dubious detour. Recording information: Blackbird Studios, Nashville, TN (03/04/2004-12/09/2004); Capitol Recording Studios, Hollywood, CA (03/04/2004-12/09/2004); Emerald ENtertainment, Nashville, TN (03/04/2004-12/09/2004); Essential Sound, Nashville, TN (03/04/2004-12/09/2004); Henson Recording Studios, Hollywood, CA (03/04/2004-12/09/2004); Jane's Place, Nashville, TN (03/04/2004-12/09/2004); OceanWay, Nashville, TN (03/04/2004-12/09/2004); Premium Recording Services, Austin, TX (03/04/2004-12/09/2004); Starstruck, Nashville, TN (03/04/2004-12/09/2004); The Castle, Nashville TN (03/04/2004-12/09/2004); The Sound Kitchen, Nashville, TN (03/04/2004-12/09/2004). Photographer: Andrew McPherson . Personnel: Dann Huff (acoustic guitar, electric guitar, gut-string guitar); Mike Henderson (electric guitar); Bruce Bouton (steel guitar, dobro); Dan Dugmore (dobro, banjo, percussion); John Wittenberg, Anatoly Rosinsky, Robert Matsuda, Michael Markman, Berj Garabedian, Mario Diaz de Leon (violin); Denyse Buffum (viola); Dan Tobin Smith, Suzie Katayama, Dan Smith, Carl Gorodetzky (cello); Steve Cohn (accordion); Eric Darken (bass guitar, percussion); Glenn Worf, Paul Bushnell (bass guitar); Shannon Forrest (drums, percussion); Shannon Forest (drums); Brett E. Warren, Gene Miller, Lisa Cochran, Liana Manis (background vocals); Jay Joyce, Tom Bukovac (acoustic guitar, electric guitar); Darrell Scott (acoustic guitar, mandolin); Bryan Sutton (acoustic guitar); Kenny Greenberg (electric guitar, electric mandolin); Byron Gallimore (electric guitar, organ, keyboards); Paul Franklin (steel guitar); Aubrey Haynie (mandolin, fiddle); Stuart Duncan (mandolin); Roberto Cani, Bruce Dukov, Sara Parkins, Robert Peterson, Armen Garabedian, Darius Campo, Josefina Vergara, Michele Richards, Susan Chatman, Charlie Bisharat, Endre Granat (violin); Roland Kato, Evan Wilson, Bob Becker (viola); Paula Hochhalter, John Catchings, Larry Corbett, Stephen Erdody, Steve Richards (cello); Jimmy Nichols (accordion, piano, organ, keyboards); Tim Lauer (accordion); Gordon Mote (piano); Charles Judge (organ, keyboards, string synthesizer); Chris McHugh, Matt Chamberlain, Vinnie Colaiuta (drums); Javier Solís (percussion); Crystal Taliefero, Greg Barnhill, Kelly Willis, Rhonda Vincent, Tim McGraw, Wes Hightower, Bekka Bramlett, Perry Coleman (background vocals). Audio Mixers: Byron Gallimore; David Thoener; Greg Droman; Justin Niebank.

There's More Where That Came From CD music Though much of Kenny Chesney's recorded output is distinctly soft-spoken and genial, BE AS YOU ARE represents a full realization of his mellow side. A conceptual song-cycle written about the country singer's experiences in the Caribbean, the tunes here are often so laid-back that they make Jimmy Buffett seem as frenetic as David Byrne. Ripping a page from Buffet's textbook, the album employs steel drums, Latin percussion, Cuban-style nylon-string guitar leads, and even the sounds of crashing waves, to induce a breezy, relaxed feeling that lingers long after the disc stops spinning. Chesney's exquisitely reserved vocals, however, always bear a hint of melancholy, suggesting an update of the same dark-side-of-the-island-vacation dream implied by Buffett himself in his hit "Margaritaville." Chesney has proclaimed BE AS YOU ARE as his "most personal" work, and the songs "Somewhere in the Sun" and "Boston" (which describes a woman who "wears a Red Sox cap to hide her baby dreads") both indicate an existential escapist fantasy lurking just beneath the surface of these still waters. Liner Note Author: Kenny Chesney. Recording information: British Virgin Islands (06/29/2004); Emerald Entertainment Studios (06/29/2004); Starstruck Studios (06/29/2004); Westwood Sound Studio (06/29/2004). Introduction bys: Mark Tamburino; Amy Jo Stelzer. Photographer: Glen Rose. Personnel: Kenny Chesney (acoustic guitar); Kenny Chesney (vocals); Amy Jo Stelzer (vocals); Quentin Ware (trumpet); Randy McCormick (piano, Hammond b-3 organ, Wurlitzer organ, keyboards); John Hobbs (piano, Hammond b-3 organ, keyboards); Larry Paxton (electric bass, bass guitar, fretless bass, background vocals); Mat Britain (steel drum); Murray Cannon, Liana Manis, Tim Hensley, Wyatt Beard, Buddy Cannon (background vocals); B. James Lowry (acoustic guitar, electric guitar, steel guitar, nylon-string guitar); John Willis (acoustic guitar, electric guitar, gut-string guitar, nylon-string guitar); J.T. Corenflos (electric guitar, gut-string guitar, nylon-string guitar); Pat Buchanan (electric guitar, harmonica); John Jorgenson (electric guitar); Tommy White (dobro); Jim Hoke (pennywhistle, tenor saxophone); Jim Horn (tenor saxophone); Steve Herman (trumpet); David Briggs (piano, keyboards); Paul Leim (drums, shaker, percussion); Chad Cromwell (drums); Robert Greenidge (steel drum); Tom Roady (tambourine, percussion); Eric Darken (percussion). Audio Mixer: Kevin Beamish.

There's More Where That Came From buy CD music On SOMEWHERE DOWN IN TEXAS, the ever-reliable George Strait stays the course he'd charted for years prior, which is to say that he once again manages to combine mainstream appeal with a classy, understated country style that makes no secret of his roots in George Jones, Merle Haggard, and the like. Unlike nearly every other country star of his era, Strait never comes anywhere near the rock trappings or power ballads that are de rigeur in so much contemporary country. There may be the occasional extraneous orchestration here and there, but any album that opens with "If the Whole World Was a Honky Tonk" and lives up to the title must have its heart in the right place. Along the way, there are echoes of Roger Miller's slightly jazzy sound ("The Seashores of Old Mexico") and Dwight Yoakam's neo-Bakersfield boogie ("High Tone Woman"), some strikingly inventive harmonic twists ("Good News Bad News"), and a broken-hearted ballad that's arguably the album's highlight ("Ready For the End of the World"). Ultimately, what truly amazes is the way Strait makes putting together such a sophisticated, pleasure-giving album seem so easy. Recording information: Blackbird Studios, Nashville, TN; Emerald Studios, Nashville, TN; Loud Studios, Nashville, TN; OceanWay, Nashville, TN; Starstruck, Nashville, TN; The Tracking Room, Nashville, TN. Photographers: Peter Nash ; Tony Baker & His Orchestra; Terry Calonge; Mark Tucker . Personnel: George Strait (background vocals); George Strait (vocals); Steve Nathan (Hammond b-3 organ, Wurlitzer organ); Glenn Worf (bass guitar); Casey Wood (percussion); Chris Rodriguez, Jaime Babbitt, Lisa Cochran, Vicki Hampton, Bob Bailey (background vocals); Bryan Sutton (guitar, acoustic guitar); Steve Gibson (acoustic guitar, electric guitar); Brent Mason (electric guitar, nylon-string guitar); Paul Franklin (steel guitar); Stuart Duncan (mandolin, fiddle); The Nashville String Machine (strings); Matt Rollings (piano, synthesizer); Eddie Bayers (drums); Wes Hightower, Marty Slayton (background vocals). Audio Mixer: Kyle Lehning.

There's More Where That Came From songs When a teenage LeAnn Rimes burst on the scene in the mid-1990s, country fans were astounded by her uncanny vocal resemblance to the late, great Patsy Cline. Perhaps in reaction to this initial pigeon-holing, Rimes moved further and further away from her straight country roots; as the singer's career progressed, she eventually became a country-pop diva on par with Shania Twain and Faith Hill. As the title suggests, THIS WOMAN completes Rimes's transformation into an adult crossover artist. Despite the twangy guitar licks of "I Want to With You," the track has much in common with the driving teen-pop anthems of Lindsay Lohan and Avril Lavigne as it does with Nashville's "new traditionalists." "Something's Gotta Give" delivers an interesting hybrid, pairing careening bluegrass violin with electric sitar straight out of a 1960s film soundtrack. Through it all, Rimes's voice remains a powerful, husky instrument imbued with equal parts stadium glitter and honky-tonk sawdust. In particular, "When This Woman Loves a Man" is a bluesy, Hammond organ-fueled tour de force that sounds like Bonnie Raitt on a drunken night out with Janis Joplin. An assertive statement by a fully formed artist, THIS WOMAN showcases Rimes at the peak of her vocal powers. Live Recording Liner Note Author: LeAnn Rimes. Recording information: Emerald Entertainment; Jane's Place; The Sound Kitchen, Nashville, TN. Photographer: Frank Ockenfels. Personnel: LeAnn Rimes (vocals); Dann Huff (guitar, electric guitar); John Willis, B. James Lowry (acoustic guitar); Charles Judge (keyboards); Jimmie Lee Sloas (bass guitar); Shannon Forrest (drums); Robert Bailey , Lisa Cochran, Vicki Hampton, Bekka Bramlett, Robert Bailey , Russell Terrell (background vocals); Dan Huff (guitar, acoustic guitar, electric guitar); Tom Bukovac (guitar, electric guitar); Jay Joyce, J.T. Corenflos (guitar); Keith Urban (electric guitar); Dan Dugmore, Paul Franklin (steel guitar); Bruce Bouton (dobro); Jonathan Yudkin (banjo, mandolin, fiddle); Tim Akers (accordion, keyboards); Steve Nathan (keyboards); Chris McHugh, Lonnie Wilson, Vinnie Colaiuta (drums); Eric Darken (percussion); Dan Tyminski, Joanna Janet, Perry Coleman (background vocals). Audio Mixers: Jeff Balding; Justin Niebank.