| | Ammons, Jonathan & The Electric Ghost You'll Never Make It In Nashville CD Ammons, Jonathan & The Electric Ghost Discography of CDs
Tucked away in the mountains of North Carolina, Asheville's Electric Ghost Collective is a song writing community revolving around a central band. With multiple front-men, the bands first release is headed up by Jonathan Ammons. 'You'll Never Make It In Nashville' finds the band bringing the sounds they've been playing in pubs and concert halls to record for the first time. You'll Never Make It In Nashville Music Ammons, Jonathan & The Electric Ghost You'll Never Make It In Nashville Songs | 1. | Don't You Give Me That Look Anymore |
| 2. | Where Did You Sleep Last Night |
| 3. | Penitence |
| 4. | Eve |
| 5. | When the Morning Comes |
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You'll Never Make It In Nashville Review
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Purchase You'll Never Make It In Nashville CD To buy, Click on price to add to cart | Rosanne Cash List CD (2009)
You'll Never Make It In Nashville album
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After the dark and chilling themes of 2006's BLACK CADILLAC, which saw Rosanne Cash dealing with the deaths of her mother, Vivian Liberto, her father, Johnny Cash, and her stepmother, June Carter Cash -- all of whom passed within a two-year span -- one might assume that her next project would move into an even deeper level of bleakness, but with THE LIST, it's immediately clear that she has instead found a more measured place to stand. It's a lovely and redemptive outing that looks back to go forward. When Cash turned 18, her father, alarmed that his daughter only knew the songs that were getting played on the radio, gave her a list of what he considered 100 essential American songs; Cash kept that list, and now she's drawn on it for this wonderfully nuanced outing that brims with a kind of redemptive timelessness. THE LIST ...
| | Them Crooked Vultures CD (2009)
You'll Never Make It In Nashville CD music
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Often, supergroups wind up dominated by one particular personality - think Eric Clapton in Derek & the Dominos, Jack White in the Raconteurs -- which makes the egalitarianism of Them Crooked Vultures all the more remarkable. Of course, when it comes down to it, it's a group of three natural-born collaborators: John Paul Jones, the old studio pro who gravitated toward provocative partners after Led Zeppelin's demise, teaming up with R.E.M. as easily as he did with avant-queen Diamanda Galas ...
| | Avett Brothers I And Love And You CD (2009)
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North Carolina sibling duo the Avett Brothers return in 2009, fresh off a few years of building a cult following for its melodic and rootsy alt-bluegrass sound, with the subdued I AND LOVE AND YOU. The opening single and title track basks in piano-pop splendor in an odd mix of Beach Boys, Byrds, and the Band.
The Avett Brothers continue charting the same musical course as EMOTIONALISM and MIGNONETTE on major-label debut I AND LOVE AND YOU, despite the presence of hands-on producer Rick Ruben. The country-folk duo continue to add elements of pop and hillbilly rock to a country/bluegrass foundation on the 2009 ...
| | Rolling Stones Get Yer Ya-Ya's Out!: In Concert CDs (1970) With Book; With DVD; Anniversary Edition; Limited Edition
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| | Perry Como Greatest Christmas Songs CD (1999)
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| | Alice In Chains Black Gives Way To Blue CD (2009) Limited Edition; Digipak
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| | Toasters Don't Let The Bastards Grind You Down (D.L.T.B.G.Y.D.) CD (1997)
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After the exuberance of Dub 56, and its thrill-packed follow- up Hard Band for Dead, those expecting yet another high octane set from the Toasters were in for a surprise. The band had taken this opportunity to downshift a gear, further hone their songwriting, and offer up a new, more mature sound. There's a bit of a muted quality to the entire set, which may be a reflection of the mix and production, but more likely reflects the band's own tight rein. Case in point is "Weekend in L.A." The original, which featured on the band's Skaboom! album, had a sense of wild abandon, the recut here may be light speeds faster, but remains closely corralled. It all feels slightly pinched, like a too-tight corset, or a simmering pot readying to boil over. And that tension is reflected in many of the lyrics -- the aggression of "Devil and a .45," the up-yours attitude of the title track, the betrayal in "Everything You Said Has Been a Lie," the abandonment-fueling "Daddy Cry," and bursting out of "Fire in My Soul." But times were tense, and there was a toughening of sound across much of the musical spectrum, emanating from industrial, which was now spilling copiously into the mainstream. Thankfully, the Toasters were much more nuanced than that, and although for most of the set the band musically slice and dice everything in their path, there are at least a few numbers with more easygoing atmospheres. Most notable amongst the former are the dancehall goes grind-metal "Woyay," the steamroller reggae of the title track, the driving blues of "Rhythm and Pain," the coursing, jazz-fired "Big Red," and the slash and smash boogie "Rude, Rude Baby." Of the latter, the highly evocative "Spooky Graveyard" stands alone, its languorous pace and smoky atmosphere far removed from the rest of the set. On a brighter note, though, is the swinging "Bye, Bye Baby," the jazz fueled "Jackie Chan," and breezy "Fire in My Soul." And so, the Toasters have finally evolved into a giant whose world no longer ended, or had even really ...
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| | Jenni Rivera Jenni CD (2008) Limited Edition
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