| | Southern Rock Tribute To Toby Keith CD
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Ugh. This Southern Rock Tribute to Toby Keith has all the redneck but none of the Southern rock to fuse together with Keith's original material. Keith is a fairly controversial figure for all his beer-drinking, hell-raising patriotism and outspokenness on numerous topics befitting a country music superstar, but this set of cuts by the studio-made "Rebel Pride" is anything but a tribute. Instead, it's a watering down of charm and a caricature attempt at an album of pretty great songs by the original artist. Turgidly loose, rhythmically erratic, horribly sung and sonically awful, this one is best left to those who know the real difference between Southern rock and just plain bad rock. ~ Thom Jurek
Various Artists: Tom Spittle (guitar); Pat Buffo, Brian Jeffries (guitars); Dave Stevenson (bass guitar); Sonny Harlan.
Personnel: Tom Spittle (vocals, guitar, keyboards, percussion); Brian Jeffries (vocals, guitar, keyboards); Pat Buffo (vocals, guitar); Sonny Harlan (drums, percussion). Southern Rock Tribute To Toby Keith Music Southern Rock Tribute To Toby Keith Songs Southern Rock Tribute To Toby Keith Review
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"Blues For Dixie" won 1995 Grammy Awards for Best Country Performance By A Duo Or Group With Vocal, and TRIBUTE TO THE MUSIC OF BOB WILLS AND THE TEXAS PLAYBOYS won the Grammy for Best Recording Package. The album was also nominated for Best Country Album.
Additional personnel includes: Lyle Lovett, Brooks & Dunn, Johnny Gimble, Huey Lewis, Riders In The Sky, Johnny Rodriguez, Marty Stuart, Eldon Shamblin, Lucky Oceans, Leon Rausch, Jody Nix, Herb Remington, Chet Atkins, Suzy Boggus, Garth Brooks, Vince Gill, Willie Nelson, George Strait, Merle Haggard, Dolly Parton.
Contains dance remixes of the selections featured ...
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On Reverie, Louis Ledford reminds one a little bit of an early Bob Dylan. He's a little scruffy around the edges and world-weary, giving the impression of someone who's done some hard traveling. This impression only holds true for the first two tracks ("All of My Dreams/Most of the Time" and "Make It Home") before shifting abruptly to alternative country on "Belle Isle." In both cases, though, Ledford retains a melancholy mood and has a lot to say about life's hard knocks. One gains the impression on "Lonesome Road" of lives that somehow fell short of their potential as possibilities narrowed. "Belle Isle" is a very long tale about the horrors of prison life during the Civil War, while "Lately," to borrow from Ledford's notes, is "about addiction, deception, anger, and violence." This makes the occasional deviation a relief. "Maury Street" combines a nice bit of blues with a bouncy backbeat, the kind of thing that Tom Waits might tear into. The lyrics here may sound just as desperate as anything on the album, but the bouncy beat gives the song a romantic edge. These songs, like some of Dylan's, are often long, and may try the non-folknik's patience. Ledford, however, has made a solid album, updating folk and, on occasion, country for the post-millennium. ~ Ronnie D. Lankford, Jr.
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