Ty England Highways and Dancehalls Album Download My Kind of Country
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ty england highways and dancehalls album download My Kind of Country. Album Review: Garth Brooks – ‘The Lost Sessions’ In 2005 Garth came briefly out of retirement with the release of a lavish box set exclusive to Walmart, which included one disc called The Lost Sessions, a collection of offcuts from previous records with a handful of new songs. This was subsequently given a separate release with added tracks. Opener and lead single ‘Good Ride Cowboy’ is a tribute to rodeo rider and cowboy singer Chris Ledoux, who was so famously namechecked in Much Too Young (To Feel This Damn Old)’ at the start of Garth’s career, and who had died earlier that year. He launched the song on an unsuspecting world live in Times Square, New York, during the CMA awards show, and that gave the single enough impetus to send it racing up the charts. An eventual peak of #3 made it Garth’s biggest hit since 1998. Garth did not actually write the song himself; the writers include later hitmaker Jerrod Niemann. He and Steve Wariner are among the chorus of backing vocalists on the rowdy tune. It was followed by a duet with Trisha Yearwood, to whom he was now married. ‘Love Will Always Win’, which had been recorded in 1999. It is a pleasant enough but rather bland song, and only reached #23. The third and last single, the fiddle-led ‘That Girl Is A Cowboy’, was a new Garth co-write with Niemann and Richie Brown, two of the writers of ‘Good Ride Cowboy’. It’s quite a nice song, and the arrangement makes it one of Garth’s most traditional country records. ‘Under The Table’, another Garth song (written with Randy Taylor) may date back to the recording sessions for his self-titled debut. It is an excellent song in traditional vein, a pained ballad about trying to drink away a memory. A breezy cover of the Nitty Gritty Dirt Band’s ‘Fishin’ In The Dark’ is also very enjoyable. Five songs have copyright dates of 1996-7, three of them Garth co-writes, and I suspect they are rejects from the Sevens recording sessions. ‘Allison Miranda’ (a Garth co-write) is a pleasantly understated story song about picking up a hitchhiker and falling in love. The heavily strung and very short (less than two minutes) ‘American Dream’, which he wrote with Jenny Yates, is a gentle ballad about growing up in America, which feels like an unfinished first draft, consisting of only two short verses disguised by an orchestra. ‘Meet Me In Love’ is a loungy jazz style number. My favourite of these tracks is DeWayne Blackwell’s ‘Please Operator (Could You Trace This Call)’, a solidly country and entertaining drinking song about a man who’s consumed so much to forget his troubles that he has no idea where he is. I also very much like Bruce Robison’s catchy ‘She Don’t Care About Me’, one of three songs Garth subsequently passed on to his former sideman Ty England for the latter’s 2000 Garth-produced Highways and Dancehalls album. The pleasant Tex-Mex ‘My Baby No Esta Qui No More’ is also enjoyable, but ‘I’d Rather Have Nothing’ is a bit cluttered and just okay. Alison Krauss harmonises on the chorus of ‘For A Minute There’, a gently melancholic tune about a remembered romance which dates from 1999, and which Garth wrote with Kent Blazy. The western swing ‘Cowgirl’s Saddle’ is an attempt at quirky humor from 2001; I enjoy Garth doing this style and it sounds great musically; but the lyric (another of his co-writes) is a bit off-color. Dating from 2002, Steve Wariner and Marcus Hummon’s ‘You Can’t Help Who You Love’ is a self-justifying cheating song which is quite good, but over-produced. The brand new ‘I’ll Be The Wind’ is plain dull. The set closes with a delicate reading of the 1950s anti-war folk song ‘Last Night I Had The Strangest Dream’. This is a very varied, if not terribly cohesive album, with elements of most of the styles Garth has pursued over the years. It certainly wasn’t worth buying the original boxed set for, but is a better bet as a standalone especially now that used copies are available relatively cheaply. My Kind of Country. Album Review: Garth Brooks – ‘The Lost Sessions’ In 2005 Garth came briefly out of retirement with the release of a lavish box set exclusive to Walmart, which included one disc called The Lost Sessions, a collection of offcuts from previous records with a handful of new songs. This was subsequently given a separate release with added tracks. Opener and lead single ‘Good Ride Cowboy’ is a tribute to rodeo rider and cowboy singer Chris Ledoux, who was so famously namechecked in Much Too Young (To Feel This Damn Old)’ at the start of Garth’s career, and who had died earlier that year. He launched the song on an unsuspecting world live in Times Square, New York, during the CMA awards show, and that gave the single enough impetus to send it racing up the charts. An eventual peak of #3 made it Garth’s biggest hit since 1998. Garth did not actually write the song himself; the writers include later hitmaker Jerrod Niemann. He and Steve Wariner are among the chorus of backing vocalists on the rowdy tune. It was followed by a duet with Trisha Yearwood, to whom he was now married. ‘Love Will Always Win’, which had been recorded in 1999. It is a pleasant enough but rather bland song, and only reached #23. The third and last single, the fiddle-led ‘That Girl Is A Cowboy’, was a new Garth co-write with Niemann and Richie Brown, two of the writers of ‘Good Ride Cowboy’. It’s quite a nice song, and the arrangement makes it one of Garth’s most traditional country records. ‘Under The Table’, another Garth song (written with Randy Taylor) may date back to the recording sessions for his self-titled debut. It is an excellent song in traditional vein, a pained ballad about trying to drink away a memory. A breezy cover of the Nitty Gritty Dirt Band’s ‘Fishin’ In The Dark’ is also very enjoyable. Five songs have copyright dates of 1996-7, three of them Garth co-writes, and I suspect they are rejects from the Sevens recording sessions. ‘Allison Miranda’ (a Garth co-write) is a pleasantly understated story song about picking up a hitchhiker and falling in love. The heavily strung and very short (less than two minutes) ‘American Dream’, which he wrote with Jenny Yates, is a gentle ballad about growing up in America, which feels like an unfinished first draft, consisting of only two short verses disguised by an orchestra. ‘Meet Me In Love’ is a loungy jazz style number. My favourite of these tracks is DeWayne Blackwell’s ‘Please Operator (Could You Trace This Call)’, a solidly country and entertaining drinking song about a man who’s consumed so much to forget his troubles that he has no idea where he is. I also very much like Bruce Robison’s catchy ‘She Don’t Care About Me’, one of three songs Garth subsequently passed on to his former sideman Ty England for the latter’s 2000 Garth-produced Highways and Dancehalls album. The pleasant Tex-Mex ‘My Baby No Esta Qui No More’ is also enjoyable, but ‘I’d Rather Have Nothing’ is a bit cluttered and just okay. Alison Krauss harmonises on the chorus of ‘For A Minute There’, a gently melancholic tune about a remembered romance which dates from 1999, and which Garth wrote with Kent Blazy. The western swing ‘Cowgirl’s Saddle’ is an attempt at quirky humor from 2001; I enjoy Garth doing this style and it sounds great musically; but the lyric (another of his co-writes) is a bit off-color. Dating from 2002, Steve Wariner and Marcus Hummon’s ‘You Can’t Help Who You Love’ is a self-justifying cheating song which is quite good, but over-produced. The brand new ‘I’ll Be The Wind’ is plain dull. The set closes with a delicate reading of the 1950s anti-war folk song ‘Last Night I Had The Strangest Dream’. This is a very varied, if not terribly cohesive album, with elements of most of the styles Garth has pursued over the years. It certainly wasn’t worth buying the original boxed set for, but is a better bet as a standalone especially now that used copies are available relatively cheaply. Album Review: Jerrod Niemann – ‘Judge Jerrod & The Hung Jury’ Jerrod Niemann seems to have something of a split personality musically. He is a competent if not particularly distinctive singer with a nice grainy quality at times, who seems determined to compensate for that by over-ornamenting his records with gimmicks. The songs are interspersed with a set of comic sketches conceived by Jerrod with Dave Brainard (with whom he shares production credits). These share the fatal flaw of not actually being funny. Most of them weren’t even funny the first time I listened to them, with the sole exception of a pointed if unoriginal little jab at radio demographics and teenage girls not being interested in drinking songs. After listening through the number of times I needed to in order to review this, I hated them. Self-indulgent in the extreme, these make an excellent argument to download selected tracks. There is a particularly annoying piece right at the end which implies one needs to be drunk to appreciate the album.