| | Lonesome River Band Head On Into Heartache CD Lonesome River Band Discography of CDs
The Lonesome River Band: Jeff Parker (vocals, tenor, mandolin); Sammy Shelor (vocals, baritone, guitar, banjo); John Wade (vocals, baritone, bass instrument); Brandon Rickman (vocals, guitars); Mike Hartgrove (fiddle). Head On Into Heartache Music | List Price | $16.99 (You save $2.70) | | Category | Rock/Pop Albums, Folk CDs, Country, Bluegrass | | Label | Mountain Home | | Orig Year | 2005 | | All Time Sales Rank |  67483  | | CD Universe Part number | 6857592 | | Catalog number | 33 | | Discs | 1 | | Release Date | May 17, 2005 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | The Lonesome River Band | | Personnel | Jeff Parker - vocals, tenor, mandolin
Sammy Shelor - vocals, baritone, guitar, banjo
Mike Hartgrove - fiddle
John Wade - vocals, baritone, bass instrument
Brandon Rickman - vocals, guitars
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Lonesome River Band Head On Into Heartache Songs Head On Into Heartache Review
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Purchase Head On Into Heartache CD To buy, Click on price to add to cart | Ralph Stanley, II Pretty Girls, City Lights CD (2000)
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| | Ricky Skaggs Skaggs & Rice: The Essential Old-Time Country Duet Recordings CD (1980)
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Digitally remastered by David Glasser (Airshow Mastering, Boulder, Colorado).
Originally released in 1980, this album presents a meeting of two masters of American acoustic roots music. Ricky Scaggs and Tony Rice have played with a veritable Who's-Who (Emmylou Harris, Vassar Clements, etc.) of country, and each have extensive and varied careers of their own; but that's not why this disc warrants a listen.
SKAGGS & RICE is a gem of classic, rarely heard traditional country duets, with touches of gospel and ...
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In the mid/late-'80s, the rock scene was hard to decipher. With an over-saturation of new bands either aping Led Zeppelin's boogie woogie metal or glam pop candy, older rock fans were left scratching their heads in bewilderment. Lucky for them, such classic rock bands as Bad Company made strong returns, as proven by 1988's DANGEROUS AGE. Like the band's other '80s recordings, the songs are slightly more commercial than their grittier ...
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| | Gary Allan Smoke Rings In The Dark CD (1999)
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With his excellent third album, SMOKE RINGS IN THE DARK, Gary Allan found his artistic voice, one filled with torch and twang. Allan's always been true to the traditional country sounds of Buck and Merle, but SMOKE RINGS finds him channeling Roy Orbison too, as well as the atmospheric feel of Chris Isaak's early records. The production on the CD is just outstanding, whether it's the barroom piano on "Cowboy Blues," the gorgeous strings on "Cryin' for Nothing" or the low, twangy guitar that permeates nearly every song, especially the moody title track. And Allan's voice has never sounded better--it's right up front, gritty and packed with emotion. There's not a bad track on the CD, but some standouts include "Sorry," (which sounds like the best song the Stray Cats never recorded), the melodic "Right Where I Need to Be," and the intense "Lovin' You Against My Will." In addition, Allan makes the harder country songs, like "I'm the ...
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| | Leonard Cohen Ten New Songs CD (2001)
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Sonically, the album continues Cohen's fascination with synthesizers, as first heard on 1988's I'M YOUR MAN. For his first album of the 21st century, he's embraced the digital world fully; nearly every sound is generated by the electronic artillery of Cohen's producer/L.A. cohort Sharon Robinson. There's a polished modesty to the arrangements, always completely subservient to Cohen's richly resonant lyrics and crater-deep voice. Wordwise, Cohen tackles the vagaries of love, the fragile nature of humanity, and the emotional subtext of global politics; typically weighty subjects befitting a man commonly regarded as one of the greatest songpoets of his time. That mantle is duly honored and upheld throughout TEN NEW SONGS.
The nine-year gap separating THE FUTURE and TEN NEW SONGS was by far the longest in Leonard Cohen's ...
| | Kathleen Edwards Failer CD (2003)
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There's a certain vastness of space in Kathleen Edwards's country-pop compositions, a quietude that seems to brew only north of the U.S.-Canadian border. The Toronto singer-songwriter's 2000 debut, FAILER, plays like a slightly peppier HARVEST MOON with a more honeyed voice. She sells sadness sweetly, whether bitterly tearing down an urban outlaw ("Six ...
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