| | Tania Kernaghan Higher Ground CD Tania Kernaghan Discography of CDs
You can hear the new confidence and maturity Tania has developed in every note she sings on her new album. Her signature heartfelt sincerity shines through in beautiful ballads like "Here's To Us" and the unforgettable poignant title track. Yet "Higher Ground" reveals a fresh, contemporary side of Tania. From the first muscular acoustic riffs of the opening track Yee Ha! to the rockin' "Harley McTaggart" and the catchy 30 Something" it's undeniable how bristling with lust for life this new record is. Tania is proud to declare "This record is a real reflection of where I am in life now. I wanted to make an album that makes you feel good and that's what we've done - these new songs are all about resilience, making the most of life no matter what fate hands you and of course, the power of love". If this record has a slightly uninhibited edge to it that might also have something to do with the fact that this is Tania's first independent release. After 3 major label successes she is releasing "Higher Ground" on her own recording label, KCR. Country fans are in for a treat as extensive touring is next on Tania's agenda - with a whole new band and live show. The live events are sure to be Tania's best ever as "Higher Ground" is loaded with songs that make you wanna let your hair down, get up and dance, crack open a coldie and revel in the fact that we really are living in the lucky country. "Higher Ground" is a contemporary country record that transcends traditional conventions yet stays true to Tania's roots and her uniquely Australian perspective. With its universal musical appeal it's testament to the fact that Australian country music is evolving - and getting cooler every day. Tania Kernaghan is an Australian original and "Higher Ground" on KCR is a personal and creative triumph that the entire Australian country music industry can be proud of. KCR.2005. Higher Ground Music | List Price | $27.99 (You save $4.70) | | Category | Country Albums | | Label | MSI Music Distribution | | Orig Year | 2005 | | CD Universe Part number | 6946730 | | Discs | 1 | | Release Date | Jan 16, 2006 | | Mono/Stereo | Stereo | | Additional Info | Import |
Tania Kernaghan Higher Ground Songs | 1. | Yee Ha! |
| 2. | 30 Something |
| 3. | Harley McTaggart |
| 4. | Here's to Us |
| 5. | Price You Pay |
| 6. | Twang Factor |
| 7. | Picking up the Pieces |
| 8. | Ride With Me Bareback |
| 9. | I Will |
| 10. | Life Don't Get Much Better Than This |
| 11. | Higher Ground |
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Higher Ground Review
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Purchase Higher Ground CD To buy, Click on price to add to cart | Toby Keith American Ride CD (2009)
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With most contemporary country artists, you could guarantee that a song called "American Ride" would be a slice of jingoism, but Toby Keith isn't like most country singers. His "American Ride" casts a cynical eye at desperate housewives and wannabe pop stars, not celebrating down-home values but wondering where we're all headed on this American Ride at the end of the 2000s, a sentiment not all that far removed from some of Keith's previous social commentary, which makes it a mild surprise that it is the only song here that doesn't come from his own pen. As superb and striking as it is, it's not necessarily a good keystone for the rest of the record, which does have a few tougher numbers that pick up on the lean, mean vibe of 2008's THAT DON'T MAKE ME A BAD GUY -- "Every Dog Has Its Day," the sly "If I Had One," and the heavy blues stomp "Loaded" -- but spends more time on the softer side, even when he kicks up a bit of dust on the dancefloor on "You Can't Read My Mind" or does a funny, respectful salute to military life on "Ballad of Balad." In other words, the real touchstone ...
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RCA/Legacy's 2006 release The Essential Jim Reeves is a repackaged reissue of BMG Heritage's 2003 compilation Anthology, containing a different title and cover art, but bearing the same 40 tracks and annotation. There has been no shortage of Jim Reeves compilations over the years, ranging from cheap budget-line collections to Bear Family's absurdly comprehensive 16-CD set, Welcome to My World. In between those two extremes were 1993's double-disc Welcome to My World: The Essential Jim Reeves and 1995's single-disc The Essential Jim Reeves, both of which covered the basics quite well, and 2000s double-disc German release The Singles, 1953 to 1960, an excellent distillation ...
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This CD commemorates Willie Nelson's 70th Birthday (April 30, 2003).
The catalog of Willie Nelson is so vast and rich that assembling an "essential" collection of only one or two discs seems nearly impossible. RCA's single-disc 1995 attempt was admirable and worthy, but doomed by space limitations. With a bit more room to move, Legacy's roomier two-disc collection is about close as anyone could hope to come. We get the full view of the great singer/songwriter's artistic journey.
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This fascinating album has sort of a strange history. Wayne Jobson, who had already put out a Jamaican single ("Mother Country," produced by Errol Thompson with his old band Little Madness), had a chance to play some of the songs he had been writing with his brother Brian for Lee "Scratch" Perry at Perry's legendary Black Ark Studio one September day in 1977. Perry was enthusiastic about what he heard and was eager to produce the songs, particularly since, as Perry declared, Jobson was an Arawak Indian. Jobson, who was a sixth generation Jamaican with an English, African, Spanish, and Scottish heritage, was unable to convince Perry that he wasn't Arawak, but plans went forward to track the songs. Jobson assembled his then-current band, Native, and with veteran Jamaican producer and mentor Joe Higgs along as a percussionist, started work on the tracks with Perry at Black Ark, coming up with rough mixes and version dubs of maybe half a dozen songs. Jobson took these rough tapes to London to shop then around to labels and was able to wrangle an album deal with Arista Records. He then returned to Kingston and Black Ark ready to finish up the project with Perry. But both Perry and his legendary studio were now in the process of a maddening descent into chaos (Perry had taken to claiming he was no longer Scratch but was instead to be addressed as Pipecock Jackson), and no further work was done on the master tapes. Perry sailed on into the rest of his undeniably unique life and Black Ark Studio quite literally went up in flames. Jobson, disappointed, moved on as well, working with other Jamaican producers on a handful of one-off singles before moving to Los Angeles, where he began a career as a respected and successful DJ. The tracks he had recorded with Perry, which were among the last to ever be cut at Black Ark, were never released and consequently assumed near mythic status among Perry collectors and fanatics.
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