Alison Krauss - Hundred Miles or More: A Collection MP3 Download

Hundred Miles or More: A Collection album for sale Those who find the pairing of '70s rock god Robert Plant with contemporary bluegrass queen Alison Krauss unlikely have probably not been paying attention to Plant's latter-day work, which is full of intimate, acoustic-flavored balladry. While the organic-sounding, low-key Plant/Krauss collaboration, RAISING SAND, is a far cry from Led Zeppelin's stadium rock, it offers up some hauntingly moody textures that should appeal to "Battle of Evermore" admirers. Consisting mostly of sagely chosen cover tunes, the album finds Plant and Krauss bringing their warm-but-eerie harmonies to everything from Townes Van Zandt's nihilistic folk poetry ("Nothin'") to the crumbled beauty of latter-day Tom Waits ("Trampled Rose"). Determined not to rest on their laurels or cater to expectations, the 59-year-old icon and his junior partner craft a subtle and intriguing sound built on their shared love of folk forms and gift for interpretation, bringing ...

Hundred Miles or More: A Collection buy CD music 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.

Hundred Miles or More: A Collection songs At the time of TAKING THE LONG WAY's release, the lyrical content of a high-profile album by a big-deal artist hadn't been the topic of such public scrutiny since Eminem was still a hot topic. The Dixie Chicks certainly had to have seen this coming, though, after they withstood a firestorm of insults, threats, and boycotts for criticizing George W. Bush's policies. "Not Ready to Make Nice" and "Lubbock or Leave It" (among others) make it clear, however, that the Chicks have no intention of retreating a single step from their convictions. Similarly, the fact that TAKING THE LONG WAY is as much a pop album as it is contemporary country should not be misinterpreted as an abandonment of the factions that turned against the group during the controversy in question. The soaring pop choruses and dashes of string orchestration that vie for space with acoustic picking and steel guitar swells should rather be seen in the context of a group that's been evolving toward a pop/country amalgam for some time. (Don't forget that one of their biggest hits was a Fleetwood Mac cover.) If anything, the expansive sonic approach and forthright themes simply stand to show that the Chicks have transcended genre pigeonholes. There's still plenty of country in their sound, but with LONG WAY the trio belongs to the larger world at last. Recording information: Sunset Sound Studios, Hollywood, CA; The Village, Los Angeles, CA. Photographer: Mark Seliger. Personnel: Natalie Maines (vocals, omnichord, background vocals); Dan Wilson (acoustic guitar, electric guitar, electric 12-string guitar, piano, background vocals); Gary Louris (acoustic guitar, electric guitar, electric 12-string guitar, background vocals); Emily Robison (acoustic guitar, electric guitar, banjo, sitar, accordion, background vocals); Smokey Hormel (acoustic guitar, electric guitar); Jonny Polonsky (acoustic guitar, lap steel guitar, piano); Martie Maguire (mandolin, violin, viola, strings, background vocals); Lloyd Maines, Marvin Etzioni (mandolin); Richard Dodd (cello); Matthew Funes, Gerardo Hilera, Joel Derouin, Larry Corbett, Mario Diaz de Leon, Andrew Duckles (strings); Steve Kujala (flute); Terry Landry (alto saxophone, baritone saxophone); Lon Price (tenor saxophone); Brian Swartz (trumpet); Brad Warnaar (French horn); Benmont Tench (piano, tack piano, harpsichord, harmonium, Farfisa, Wurlitzer organ); Larry Knechtel (piano, Wurlitzer organ); Chris Testa (xylophone); Lenny Castro (percussion); Bonnie Raitt (background vocals); John Mayer , Keb' Mo', Justin Meldal-Johnsen, Chad Smith . Audio Mixer: Richard Dodd.

Hundred Miles or More: A Collection CD music Not since Prince released the three-hour, three-CD set EMANCIPATION in 1996 or the Magnetic Fields took a similar number of discs for the sprawling 69 LOVE SONGS in 1999 has an artist attempted something as expansive as Vince Gill's THESE DAYS. A four-disc box set of all new material, nearly all of it Gill originals, THESE DAYS is possibly the widest-ranging country album of the modern era. The four discs are thematically and stylistically arranged. Disc one, WORKIN' ON A BIG CHILL, is a 1960s-flavored rock-and-roll album that recalls Bob Dylan's late '60s work with the Band and features Bonnie Bramlett's vocals on several songs. Disc two, THE REASON WHY, is a modern pop record in the style of Shania Twain's international releases, with several duet partners including Sheryl Crow and Leann Rimes. Disc three, SOME THINGS NEVER GET OLD, is straight honky-tonk in the Ray Price and Lefty Frizzell tradition. Finally, disc four, LITTLE BROTHER, is a strictly acoustic bluegrass and folk album that cuts Gill's writing and singing to its most elemental. Taken together, the four albums reveal Vince Gill to be one of modern country's most impressive performers. Liner Note Author: Jay Orr. Recording information: Blackbird "F", Nashville, TN; Blackbird Studio, Nashville, TN; Emerald Sound Studios, Nashville, TN; Masterfonics, Nashville, TN; OceanWay, Nashville, TN; Sound Kitchen, Nashville, TN. Photographer: Seņor McGuire. Personnel: Vince Gill (baritone, acoustic guitar, electric guitar, 12-string guitar, resonator guitar, mandolin, background vocals); Vince Gill (vocals); Diana Krall (vocals, piano); Guy Clark, John Anderson, Rodney Crowell (vocals); Jeff White (tenor, acoustic guitar, background vocals); Sonya Issacs (tenor); Tom Britt (acoustic guitar, electric guitar, slide guitar, gut-string guitar); Billy Joe Walker, Jr., Steuart Smith (electric guitar); Paul Franklin (steel guitar, dobro); John Hughey, Buddy Emmons (steel guitar); Jerry Douglas (dobro); Rob McCoury, Charlie Cushman (banjo); Ronnie McCoury (mandolin); Stuart Duncan (fiddle); The Nashville String Machine (strings); Jim Hoke (harmonica); Mark Douthit (tenor saxophone); Doug Moffet (baritone saxophone); Mike Haynes (trumpet); Barry Green (trombone); Jim Horn (horns); Pete Wasner (piano, electric piano, Wurlitzer piano, Hammond b-3 organ, Wurlitzer organ, synthesizer); Eric Darken (vibraphone, tambourine, percussion, bells, chimes); Michael Rhodes (bass instrument, upright bass); Mike Bub (upright bass); Eddie Bayers, Billy Thomas (drums); William Owsley III, Gene Miller, Lisa Cochran (background vocals); Del McCoury (vocals, tenor, acoustic guitar); Bekka Bramlett (vocals, background vocals); Dan Tyminski, Emmylou Harris, Gretchen Wilson, Jenny Gill, LeAnn Rimes, Lee Ann Womack, Alison Krauss, Michael McDonald , Amy Grant, Patty Loveless, Phil Everly, Rebecca Lynn Howard, Trisha Yearwood, Sheryl Crow, Katrina Elam, Bonnie Raitt (vocals); Tom Bukovac (electric guitar); John Hobbs (piano, Fender Rhodes piano, Wurlitzer organ); Chad Cromwell (drums, tambourine); The Del McCoury Band. Audio Mixers: Justin Niebank; Neal Cappellino.

Hundred Miles or More: A Collection buy CD music FORGET ABOUT IT was nominated for the 2000 Grammy Award for Best Country Album and for Best Engineered Album, Non Classical. "Forget About It" was nominated for the 2000 Grammy Award for Best Female Country Vocal Performance. This is a Hybrid Super Audio CD playable on both regular and Super Audio CD players. Alison Krauss is a genuine rarity: a bluegrass singer and fiddle player who achieved popularity without altering or commercializing her sound. On FORGET ABOUT IT, she again fuses bluegrass, country, and pop influences, covering unlikely tunes and making them sound fresh and new. Though there are very few true bluegrass tunes in this set, the bluegrass sound is here in full force. The close harmonies, Krauss' high, lonesome soprano, and the traditional-sounding dobro and fiddle are all at the heart of the sound here. The songs are mostly slow, subdued expressions of romantic melancholy and heartbreak. The musicianship is, as usual, both immaculate and inspired. Dolly Parton and Lyle Lovett show up to give harmony to the lovely closing track, "Dreaming My Dreams With You." FORGET ABOUT IT also contain some of Krauss' most memorable singing. A beautiful piece of work. Recorded at Emerald Sound and Seventeen Grand Studios, Nashville, Tennessee. Recorded at Emerald Sound Studios and Seventeen Grand Recording, Nashville, Tennessee. Personnel: Alison Krauss (vocals, fiddle, strings); Pat Bergeson (acoustic & electric guitars); Dan Tyminski (acoustic guitar, background vocals); Ron Block (acoustic guitar); Jerry Douglas (lap steel guitar, dobro); Sam Bush (mandolin, background vocals); Joey Miskulin (accordion); Matt Rollings (piano); Barry Bales (acoustic & electric basses, background vocals); Viktor Krauss (acoustic bass); Jim Keltner, Kenny Malone (drums); Dolly Parton, Lyle Lovett, Evelyn Cox, Sidney Cox, Suzanne Cox (background vocals). Personnel: Alison Krauss (vocals, fiddle, strings); Pat Bergeson (acoustic guitar, electric guitar); Dan Tyminski, Ron Block (acoustic guitar); Jerry Douglas (lap steel guitar, dobro); Sam Bush (mandolin); Joey Miskulin (accordion); Matt Rollings (piano); Barry Bales (acoustic bass, electric bass); Viktor Krauss (acoustic bass); Jim Keltner, Kenny Malone (drums). Audio Mixer: Gary Paczosa. Recording information: Emerald sound Studio, Nashville, TN (1999); Seventeen Grand Recording, Nash (1999). Photographer: Matthew Barnes. Personnel: Alison Krauss (vocals, fiddle, strings); Pat Bergeson (acoustic & electric guitars); Ron Block, Dan Tyminski (acoustic guitar, background vocals); Jerry Douglas (dobro, lap steel guitar); Sam Bush (mandolin, slide mandolin, background vocals); Joey Miskulin (accordion); Matt Rollings (piano); Barry Bales (acoustic & electric basses, background vocals); Viktor Krauss (acoustic bass); Jim Keltner, Kenny Malone (drums); Dolly Parton, Lyle Lovett, Evelyn Cox, Sidney Cox, Suzanne Cox (background vocals).

Hundred Miles or More: A Collection songs Alison Krauss is back with Union Station for Paper Airplane, her 14th studio album and the band's first since 2004's Lonely Runs Both Ways. Krauss and the band self-produced the outing, working with engineer Mike Shipley. Recording information: Blackbird Studios; House of Blues Studios; Sound Emporium; the Doghouse. Editor: Neal Cappellino. Photographer: Randee St. Nicholas. Personnel: Alison Krauss (vocals, fiddle); Dan Tyminski (vocals, guitar, mandolin); Ron Block (guitar, banjo); Jerry Douglas (dobro); Barry Bales (acoustic bass). Audio Mixer: Mike Shipley.