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In 1993, Nashville's biggest young stars--Alan Jackson, Trisha Yearwood, Vince Gill, and others--recorded an album of Eagles songs called Common Thread. When the disc went platinum, everyone hailed it as the rebirth of country-rock. If you listened closely, though, you heard neither the down-to-earth twang of country nor the metallic aggression of rock & roll. What you heard instead was the romantic sweetness of pop. More specifically, the Eagles represented the southern California pop tradition of harmony-drenched groups like the Beach Boys, the Mamas & the Papas, and Crosby, Stills and Nash. It's a wonderful tradition, but it's misleading to call it something else. Out there in the hinterlands you can still hear authentic country-rock, an exhilarating combination of blunt adult storytelling and blazing guitars as practiced by the likes of Joe Ely, Shaver, the Bottle Rockets, Mike Henderson, and Jason and the Scorchers. Real country-rock remains a marginal commercial force, however, and the real money is in the new Nashville version of southern California harmonies. Call it "suburban pop." --Geoffrey Himes
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Music and the sport of rodeo have been stable mates for decades . Cowboys have used music as a source of inspiration, a catalyst to help unlock their true potential when they need to perform at the highest level under the most intense pressure. Musicians have looked to rodeo and the spirit of the American cowboy as subjects of numerous songs, many of which have found their way both to the top of the charts and into people's hearts. There is a special link between music and rodeo, and Sony BMG is paying tribute to that unique bond with this one-of-a-kind boxed set. In honor of the 50th anniversary of the Wrangler National Finals Rodeo Sony BMG has gathered a song list from a "Who's Who" of country music stars, from Johnny Cash and Waylon Jennings to Gene Autry and Brooks & Dunn. Never before have rodeo's most beloved and treasured songs been available in a collection such as this. It's a must-have for rodeo and country music lovers of all ages. What better way to celebrate 50 years of the world's greatest rodeo than with a boxed set of the most celebrated and treasured rodeo-related country music songs of all time?
- 50 songs on 3 CDs!
- Includes "Cowboy Town" by Bro...
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NOW THAT'S WHAT I CALL COUNTRY is the highly anticipated first Country project for the respected and hugely successful NOW That's What I Call Music series of compilation albums, which have collectively scanned over 70 million units in the US in the last 10 years. NOW THAT'S WHAT I CALL COUNTRY will include 20 of today's hottest country hits from the biggest artists in the format.
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It all began in 1956 with the release of the historic Folkways album American Banjo: Three-Finger and Scruggs Style (SFW 40037), the first-ever full-length bluegrass LP. From that point on, Folkways Records was synonymous with great bluegrass music. Folkways founder Moses Asch released scores of bluegrass albums, and this collection comprises the cream of the crop from these recordings, including works from giants of the genre such as Red Allen & Frank Wakefield, Bill Monroe, Doc Watson, the Stanley Brothers, and The Country Gentlemen. It serves as an outstanding introduction to the wealth of great bluegrass Smithsonian Folkways has to offer. Extensive notes, photos, 62 minutes. Compiled and annotated by Lee Michael Demsey and Jeff Place.
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17 inspirational songs from 2006's top country artists!
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Appalachian Stomp is an ideal starter disc for those just beginning to explore bluegrass. Mostly this is because its 18 selections are so immediately accessible. The "classics" here, in other words, are usually those infrequent bluegrass cuts to have gained radio recognition beyond a core bluegrass audience. That explains why along with timeless standards such as Flatt & Scruggs' "Foggy Mountain Breakdown" and the Osborne Brothers' "Rocky Top" we also get "Dueling Banjos" from the film Deliverance, a cut that is to classic bluegrass what Walter Murphy is to Beethoven. There are less immediately obvious choices too, though. If your previous exposure to bluegrass doesn't go beyond the Holy Trinity of Bill Monroe, Flatt & Scruggs, and the Stanley Brothers--for example, if you've never heard J.D. Crowe & the New South's stellar example of progressive bluegrass, "Old Home Place," or experienced Jimmy Martin lay down the law on his rousing "You Don't Know My Mind"--then you're in for a high-lonesome surprise. --David Cantwell
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The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song. The music from the Coen brothers' Depression-era film taps into the source from which the purest strains of country, blues, bluegrass, folk, and gospel music flow. Producer T Bone Burnett enlists the voices of Alison Krauss, Gillian Welch, Emmylou Harris, Ralph Stanley, and kindred spirits for performances of traditional material, in arrangements that are either a cappella or feature bare-bones accompaniment. Highlights range from the aching purity of Krauss's "Down to the River to Pray" to the plainspoken faith of the Whites' "Keep on the Sunny Side" to Stanley's chillingly plaintive "O Death." The album's spiritual centerpiece finds Krauss, Welch, and Harris harmonizing on "Didn't Leave Nobody but the Baby," a gospel lullaby that sounds like a chorus of Appalachian angels. --Don McLeese
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