May 27

Steve Earle – Guitar Town (1986) [Reissue 2002]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 39:46 minutes | Scans included | 1,64 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 817 MB
Genre: Country

In the strictest sense, Steve Earle isn’t a country artist; he’s a roots rocker. Earle emerged in the mid-’80s, after Bruce Springsteen had popularized populist rock & roll and Dwight Yoakam had kick-started the neo-traditionalist movement in country music. At first, Earle appeared to be more indebted to the rock side than country, as he played a stripped-down, neo-rockabilly style that occasionally verged on outlaw country.

On this 1986 debut, Steve Earle burst on the scene as a fully formed songwriting master, synthesizing effortlessly the finest parts of country-folk troubadours like Townes Van Zandt and the anthemic, working-class rock of Bruce Springsteen. “Someday,” a country-rock masterpiece about a kid stuck pumping gas in a dead-end town, remains the perfect realization of this style, and with the exception of the slight and silly “Little Rock ‘N’ Roller,” most everything else here (especially “Hillbilly Highway” and the heartbreaking ballad “My Old Friend the Blues”) comes awfully close. The 2002 reissue, overseen by Earle and original producer Tony Brown, offers fresh remastering, new liner notes by Earle, and a bonus live version of Springsteen’s “State Trooper”.

On Steve Earle’s first major American tour following the release of his debut album, Guitar Town, Earle found himself sharing a bill with Dwight Yoakam one night and the Replacements another, and one listen to the album explains why — while the music was country through and through, Earle showed off enough swagger and attitude to intimidate anyone short of Keith Richards. While Earle’s songs bore a certain resemblance to the Texas outlaw ethos (think Waylon Jennings in “Lonesome, On’ry and Mean” mode), they displayed a literate anger and street-smart snarl that set him apart from the typical Music Row hack, and no one in Nashville in 1986 was able (or willing) to write anything like the title song, a hilarious and harrowing tale of life on the road (“Well, I gotta keep rockin’ while I still can/Got a two-pack habit and motel tan”) or the bitterly unsentimental account of small-town life “Someday” (“You go to school, where you learn to read and write/So you can walk into the county bank and sign away your life”), the latter of which may be the best Bruce Springsteen song the Boss didn’t write. And even when Earle gets a bit teary-eyed on “My Old Friend the Blues” and “Little Rock ‘n’ Roller,” he showed off a battle-scarred heart that was tougher and harder-edged than most of his competition. Guitar Town is slightly flawed by an overly tidy production from Emory Gordy, Jr., and Tony Brown as well as a band that never hit quite as hard as Earle’s voice, and he would make many stronger and more ambitious records in the future, but Guitar Town was his first shot at showing a major audience what he could do, and he hit a bull’s-eye — it’s perhaps the strongest and most confident debut album any country act released in the 1980s.

01. Guitar Town
02. Goodbye’s All We’ve Got Left
03. Hillbilly Highway
04. Good Ol’ Boy (Gettin’ Tough)
05. My Old Friend The Blues
06. Someday
07. Think It Over
08. Fearless Heart
09. Little Rock ‘N’ Roller
10. Down The Road
11. State Trooper

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May 27

Steve Earle & The Dukes (& Duchesses) – The Low Highway (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 40:00 minutes | 872 MB | Genre: Country
Studio Master, Official Digital Download – Source: HDTracks  | Artwork: Digital Booklet | © New West Records

This twelve-track collection is the highly anticipated follow up to the 2011 GRAMMY-nominated album I’ll Never Get Out Of This World Alive. The Low Highway marks the first album billed as Steve Earle & The Dukes (& Duchesses). It features his live band consisting of Chris Masterson, Eleanor Whitmore, Kelley Looney, Will Rigby and Allison Moorer and was co-produced by Earle and Ray Kennedy (whose production partnership known as the “Twangtrust” was behind Lucinda Williams’ Car Wheels On A Gravel Road).

4 stars out of 5 – “Steve Earle’s status as American legend keeps growing…the playing is immaculate and the songcraft admirable.” – The Guardian

Over the past 27 years Steve Earle’s music has journeyed all across the Americana spectrum: country, rock, folk, Beatlesque psychedelia, topical folk songs, etc. He’s even done a covers record of Townes Van Zandt songs to pay tribute to his late mentor and friend. His very best offerings are those he’s recorded with his Twang Trust production partner, Ray Kennedy. They’re together here. Over 12 songs, Earle does what he does best: he tells stories that get under the skin and into the bones. Backed by the Dukes (& Duchesses), his road band, the title track’s first-person vignette captures the strangeness and contradiction of America from a small vantage point, a first-person narrative about traveling. His world-weary voice brings the listener into the meld of fiddle, strummed acoustic guitars, and whining pedal steel and keeps her there, seeing it all through his eyes. “Calico County” is a straight-up rocker with whomping electric guitars, Fender Rhodes, bass, and drums. “Burnin’ It Down” is the other side of the roaming romantic of “I Ain’t Ever Satisfied,” defeated, angry, bewildered about what happened to those dreams and his town. Allison Moorer’s accordion lends a poignant undercurrent to the guitars. “After Mardi Gras,” written for Lucia Micarelli’s character in the HBO series Treme, is delivered with a gentle swing, and a tender violin solo by Eleanor Whitmore. This contrasts with the barroom boogie of “Pocket Full of Rain,” driven by Moorer’s piano, fiddle, and a strolling upright bassline by Kelly Looney. “Down the Road, Pt. 2” is a roiling trucker country number, infused with the spirit of Bill Monroe thanks to Earle’s mandolin. The closer, “Remember Me,” a slow, 4/4 Americana number, is a plea from a father to his child; it’s one of the most moving, poetic songs in Earle’s catalog. The singer is accompanied only by his acoustic guitar in the first half, before Will Rigby’s loose-tuned snare and bass drum, accompanied by upright bass, mandolin, and pedal steel, enter. The song is a testament of familial faith, an offering of unwavering love with a lone request: that the protagonist not be forgotten no matter life’s turns. The Low Highway is Earle the storyteller without any agenda save for getting the songs right, telling stories, and recording songs that will resonate as deeply live as they do here. This may be his most consistent offering since El Corazón.

01 – The Low Highway
02 – Calico County
03 – Burnin’ It Down
04 – That All You Got?
05 – Love’s Gonna Blow My Way
06 – After Mardi Gras
07 – Pocket Full Of Rain
08 – Invisible
09 – Warren Hellman’s Banjo
10 – Down The Road Pt II
11 – 21st Century Blues
12 – Remember Me

Produced by Steve Earle and Ray Kennedy.
Recorded, mixed and mastered by Ray Kennedy at Ben’s Studio and Room and Board, Nashville, Tennessee.

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May 27

Steve Earle – Transcendental Blues (2000)
FLAC (tracks) 24 bit/192 kHz | Time – 49:23 minutes | 1,88 GB | Genre: Country
Official Digital Download – Source: | Digital Booklet

One of the most versatile and captivating albums from singer-songwriter, Steve Earle, Transcendental Blues is a well-crafted and lyrically stunning release delving into the personal evolution of Steve Earle. Earle’s innovative songwriting marries blues, bluegrass, country, country rock and even Celtic music. The album debuted at #5 on the Billboard’s Top Country Album Charts and was a Grammy nominated album for “Best Contemporary Folk Album”.

Steve Earle is a rebel. Not in the Hollywood/James Dean/Easy Rider/rebel-against-society sense, but rather in a real and personal way. Throughout his life and career he has rebelled against the very industry that surrounded him and did not find the freedom he sought until he started his own label, E-Squared. He rebelled against his common sense and his health in search of true American artistry and did not find the freedom he sought until he hit the bottom of addiction, and he continues to rebel against mainstream American culture and politics with his attitudes and songs; Transcendental Blues is no exception. Transcendental Blues walks the line between Steve Earle the country-rock rebel who gave the world Copperhead Road and Guitar Town and Steve Earle the traditionalist who opened a new chapter in bluegrass with his last release, The Mountain. This album rocks with songs like “Everyone’s in Love with You” and “All My Life.” It soothes with “The Boy Who Never Cried” and “Lonelier Than This,” and it two-steps with new country like “The Galway Girl” and “Until the Day I Die.” Fans of alternative country music sing the praises of artists like Charlie Robison, Jack Ingram, and Robert Earl Keen, Jr., but Earle proves again and again that he is the original alternative to the glossy side of Nashville. Earle cut the path that all his followers thankfully hike along, avoiding the weeds and branches that made him what he is today.

01 – Transcendental Blues
02 – Everyone’s In Love With You
03 – Another Town
04 – I Can Wait
05 – The Boy Who Never Cried
06 – Steve’s Last Ramble
07 – The Galway Girl
08 – Lonelier Than This
09 – Wherever I Go
10 – When I Fall
11 – I Don’t Want to Lose You Yet
12 – Halo ‘Round the Moon
13 – Until the Day I Die
14 – All of My Life
15 – Over Yonder (Jonathan’s Song)

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May 27

Tierney Sutton – Dancing In The Dark (2004)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 54:34 minutes | Scans included | 3,56 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,06 GB
Features Stereo and Multichannel surround sound | Telarc # SACD-63592 | Genre: Jazz

…A gifted American jazz singer with a strong, wide-ranging voice and uncluttered style.

This isn’t Sutton’s tribute to Sinatra, although all the material here was recorded and made famous by him. Instead, it’s her working through the nooks and crannies of his songbook, and bringing things out and putting her own particular polish on them. It could be something with strings, such as “What’ll I Do?” or the intimacy of “I’ll Be Around,” which is as much a plea as a reassurance and resignation. Her version of “I Think of You,” whose melody comes originally from Rachmaninov, is gloriously subtle, the emotion as softly drawn out as the syllables. “I Could Have Told You” offers comfort and a shoulder to cry on, a gentle embrace that’s almost a whisper in Sutton’s hands. The music here is at its best when the orchestra keeps away – they simply become overkill, the too-sweet icing on an already-delicious cake. Perhaps her biggest test, though, comes at the end of the album, tackling “Fly Me to the Moon,” followed by a medley of “Last Dance” and “Dancing in the Dark,” taking on some of Sinatra’s most famous pieces. While on the former Sutton doesn’t always dig to the absolute heart of the song, the arrangement is stunning, with some outstanding piano from Christian Jacob that frees the songs from its ’50s shackles. Sutton does sparkle on the other piece, however, especially “Dancing in the Dark,” where the orchestral contributions are kept to a minimum, and the tracks swings in a minimalist fashion, Sutton’s voice imbued with the magic of the night. The album might have been inspired by Sinatra, but in her own way, Sutton has gone beyond her inspiration.

01. What’ll I Do
02. Only the Lonely
03. I’ll Be Around
04. All the Way
05. I Think of You
06. Where or When
07. Without a Song
08. I Could Have Told You
09. Emily
10. Last Night When We Were Young
11. Fly Me to the Moon
12. Last Dance / Dancing in the Dark

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May 27

Eumir Deodato – Motion (1984/2011)
FLAC (tracks) 24-bit/192 kHz | Time – 36:40 minutes | 1,34 GB | Genre: Electronic, Pop, R&B
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Rhino/Warner Bros.
Recorded: Duplex Sound, NYC, January, February, March, 1984

Motion, released in 1984, is an invigorating work that finds Deodato delving into the realms of electro-inspired music. The futuristic project presents Deodato combining Linn and DMX drums with more traditional instruments highlighting his compelling keyboard skills. Singer Katreese Barnes lends refreshing vocals to this urban funk-disco album. The mind-bending record is vital for any music library.

Motion, released in 1984, is an electronic affair. Deodato fully engaged the keyboard-drenched production of the 1980s and it is in full flower here, with Linn and DMX drums programmed all over the place to further enhance the multiple layers of synthesizers that coat every cut. In fact, the very notion of song takes a back seat to the terrain of sound itself. This is music for the dance club, but it has little to do with disco — its rhythms are looped and linked but remain utterly uninteresting, and the sonics, while bright and silvery, are paper thin. The album’s single was “Never Knew Love,” a characteristic bit of urban pop-funk tossed into the mix for balance. Katreese Barnes’ lead vocals are a breath of fresh air after the futuristic funk catastrophe of “S.O.S., Fire in the Sky.” The funky disco fusion of “Bus Stop” is catchy but utterly unimaginative. In fact, most of this record sounds like it could have been cranked out in Deodato’s sleep. ~~ AllMusic Review by Thom Jurek

1 S.O.S., Fire In The Sky 6:18
2 Never Knew Love 5:47
3 Bus Stop 7:05
4 Motion 6:13
5 Are You For Real 5:10
6 Make You Feel Good 6:07

Eumir Deodato – Arranger, Composer, Keyboards, Linn Drum, Programming
Jerry Barnes – Bass, Composer, Drum Programming, Guitar, Synthesizer Bass, Vocals (Background)
Katreese Barnes – Composer, Keyboards, Programming, Vocals, Vocoder Programming
Camille – Vocals
Norman Durham – Composer, Programming, Synthesizer Bass
Earl Gardner – Trumpet
Juicy – Vocals
Bob Malach – Sax (Tenor)
Keith O’Quinn – Trombone
Alan Palanker – Composer, Keyboards, Programming
Nelson Rangell – Sax (Alto)
Rick Suchow – Composer, Programming, Synthesizer Bass

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May 27

Joseph Haydn – Piano Concertos – Ronald Brautigam, Concerto Copenhagen, Lars Ulrik Mortensen (2004)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:15:54 minutes |  688 MB | Genre: Classical
Studio Master, Official Digital Download  – Source: eClassical | Digital Booklet  | © BIS Records

Here is a jewel of a record. Fresh from his triumphant reading of Haydn’s entire output for the fortepiano Ronald Brautigam now brings us four concertos for piano and orchestra by the great composer. The piano concerto of this period naturally means Mozart. No one would dispute his pre-eminence in the genre. But when we actually listen to Haydn, as opposed to nodding at his technical ability, breadth of application and so on, we are always surprised; his music is not just brilliantly skilful but deeply impassioned and full of delightful surprises. Lars Ulrik Mortensen is also a musician to bring out these elements. Widely recognized as a harpsichord player of unusual insight and personality he directs the period ensemble Concerto Copenhagen from the continuo bench. Surely no one can fail to respond to this heart-warming disc?


Joseph Haydn (1732-1809)

Concerto in D major, Hob.XVIII/11
1. I. Vivace 7’06
2. II. Un poco adagio 5’07
3. III. Rondo all´Ungarese 4’02

Concerto in F major, Hob.XVIII/3
4. I. Allegro 9’10
5. II. Largo cantabile 5’56
6. III. Presto 3’52

Concerto in D major, Hob.XVIII/2
7. I. Allegro moderato 8’31
8. II. Adagio molto 7’29
9. III. Allegro 5’00

Concerto in G major, Hob.XVIII/4
10. I. Allegro 8’20
11. II. Adagio 6’04
12. III. Rondo 3’34

Lars Ulrik Mortensen, director/continuo
Ronald Brautigam, fortepiano
Concerto Copenhagen, orchestra

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May 27

Elton John – Peachtree Road (2004)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 52:05 minutes | 2,06 GB | Genre: Rock
Official Digital Download – Source: AcousticSounds | Front Cover | © The Rocket Record Company

Elton John’s 28th studio album garnered gold status by the RIAA in December 2004. The record peaked at #18 on Billboard’s Top 200 and featured three singles: Weight Of The World, Porch Swing In Tupelo and They Call Her The Cat.

Elton John returned to the sound and aesthetic of his classic early-’70s work with 2001’s Songs From the West Coast, finding critical acclaim, if not much commercial success. Not that the lack of sales greatly bothered Elton — in many interviews, including one with Entertainment Weekly the week before Peachtree Road was released in November 2004, he claimed he was “disappointed” that it just barely went gold, but he was tired of making “uneven” records. John wasn’t merely doing publicity: Peachtree Road proves that he’s back to making good, solid records focused on songs, not hits, the way he did at the outset of his career. Since this is an album by a veteran, not an artist on the rise, it doesn’t have the sense of discovery, or the hunger, that the early records still retain, and the production — the first self-production by John with no collaborators — is a little cleaner and crisper than the rich, warm sound of the late Gus Dudgeon (to whom this record is dedicated), who helmed such masterworks as Tumbleweed Connection. This means Peachtree Road is about craft, both in the writing and recording, which also means that it’s a grower, with each song sounding stronger, better with each spin. While the sound of the record is bright and polished, this album makes few concessions to radio: this is certainly adult pop, but it never panders to adult contemporary radio, and the music is a little too rugged and sturdy to fit alongside the stubbornly sweet sounds of 21st century MOR. Which is precisely the point, of course: Elton has consciously returned to the reflective singer/songwriter template of the early ’70s, both in his writing and production. Not that this is as lush as Elton John or country-tinged as Tumbleweed Connection — “Answer in the Sky” recalls the high-flying disco of “Philadelphia Freedom” quite deliberately, and “They Call Her the Cat” finds a halfway point between “Honkey Cat” and “The Bitch Is Back” — but it fits alongside those albums quite nicely because the focus is on songs, not trying to have hits. These songs may not rival his standards, but they’re in the same tradition, and there’s not a bad song in the bunch, resulting in a sturdy, satisfying record that proves that the comeback on Songs From the West Coast was no fluke and, hopefully, this latter-day renaissance for Elton will not be short-lived either. ~~ AllMusic Review by Stephen Thomas Erlewine

1 Weight Of The World 3:58
2 Porch Swing In Tupelo 4:38
3 Answer In The Sky 4:03
4 Turn The Lights Out When You Leave 5:02
5 My Elusive Drug 4:12
6 They Call Her The Cat 4:27
7 Freaks In Love 4:32
8 All That I’m Allowed 4:52
9 I Stop And I Breathe 3:39
10 Too Many Tears 4:14
11 It’s Getting Dark In Here 3:50
12 I Can’t Keep This From You 4:34

Elton John – piano, Rhodes, lead and backing vocals
Davey Johnstone – acoustic, electric, slide, baritone, Leslie and sitar guitars; dobro, mandolin, backing vocals
Nigel Olsson – drums, backing vocals
Guy Babylon – Hammond organ, Rhodes, programming, orchestration
Bob Birch – bass guitar, backing vocals
John Mahon – percussion, backing vocals
John Jorgenson – pedal steel guitar
L’Tanya Shields, Alecia Terry, M. Dennis Sims, Rosalind McKnight, Mark Ford, Terrence Davis, Todd Honeycutt, Adam McKnight – choir
James Pankow – trombone, horn arrangement
Lee Loughnane – trumpet
Walter Parazaider – tenor saxophone
Larry Klimas – baritone saxophone
Martin Tillman – electric cello

Recorded: Tree Studios, Atlanta, GA, US; The Record Plant, Los Angeles, CA, US; Silent Sound, Atlanta, GA, US
DSD file created by Gus Skinas from the original DSD audio used to create the existing SACD

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May 27

Carla Bley, Andy Sheppard, Steve Swallow – Andando el Tiempo (2016) 
FLAC (tracks) 24-bit/96 kHz | Time – 47:16 minutes | 785 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | © ECM
Recorded: Auditorio Stelio Molo RSI, Lugano, November 2015

Andando el Tiempo features new music of wide emotional compass by Carla Bley, and underlines her originality and resourcefulness as a jazz composer. “Saints Alive!” sets up animated conversations between the participants with striking statements from Steve Swallow’s bass guitar and Andy Sheppard’s soprano sax. The stately “Naked Bridges/Diving Brides” draws inspiration from Mendelssohn and the poetry of Paul Haines. And the powerful three part title composition – which addresses the trials and tribulations of recovery from addiction – moves through sorrow to hopefulness and joy. The trio with Sheppard and Swallow has been an ideal vehicle for Carla’s writing for more than 20 years and also provides one of the best contexts for her unique piano playing. Like the critically lauded ECM album Trios (2012), Andando el Tiempo was recorded at Lugano’s RSI Studio and produced by Manfred Eicher.

For over 20 years, the trio of pianist Carla Bley, bassist Steve Swallow, and saxophonist Andy Sheppard have shared each other’s creative company. The group’s 2016 album, Andando el Tiempo, is a delicately passionate, classically influenced set. A follow-up to 2013’s equally compelling Trios, Andando el Tiempo is, surprisingly, only the third album from the group after their initial live 1995 album Songs with Legs. Whereas on Trios they delved into various Bley compositions from throughout her career, on Andando el Tiempo they focus on several more recently penned works. “Naked Bridges/Diving Bridges” brings to mind the impressionism of composer Claude Debussy. It’s fascinating to hear the trio move from the moody beginning of the song into the more breezy, straight-ahead mid-section where Swallow, playing fluidly on the upper end of his bass, evinces the lyricism of West Coast trumpeter Chet Baker. The West Coast vibe is also palpable on the ruminative, noir-ish “Saints Alive!” However, it’s the title track composition “Andando el Tiempo” that takes center stage on the album. With its three movements meant to represent three of the steps to addiction recovery, “Andando el Tiempo” (meaning “with the passing of time”) is a restrained, yet nuanced piece that balances the group’s knack for tempered chamber work and fluid, in-the-moment improvisation. Anchored at all times by Bley’s measured, atmospheric piano, Sheppard and Swallow take turns dancing in the spotlight. The final movement in particular, the Latin-tinged “Camino al Volver,” provides plenty of space for each member of the trio to twirl around each other in focused reverie. Ultimately, it’s that shared intensity, born out of the trio’s decades-long partnership, that makes Andando el Tiempo such an engaging listen. ~~ AllMusic Review by Matt Collar

Carla Bley (b.1936)
Andando el Tiempo
1. Sin Fin 10:21
2. Potación de Guaya 09:48
3. Camino al Volver 08:27
4. Saints Alive! 08:35
5. Naked Bridges / Diving Brides 10:05

Carla Bley, piano
Andy Sheppard, tenor and soprano saxophones
Steve Swallow, bass

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May 27

GVSU New Music Ensemble – Steve Reich: Music For 18 Musicians (2007) [2.0 & 5.0]
PS3 Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 61:27 minutes | Scans included | 3,01 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,05 GB
Genre: Classical

The pulsations of Steve Reich’s landmark Music for 18 Musicians signify a New Music precipice. Where so much music after World War II explored extremes of tone, time, and register, Reich–and some of his colleagues in the 1960s and after–gravitated towards immersion in repetitions and telescoped focus on tonal areas. The combination of piano, vibraphone, marimba, xylophone, clarinets, violin, cello, and female voices is intoxicating in Reich’s hands. Reich creates a middle-register, ringing vamp with burnished reed palpitations and, eventually, quick, rolling piano figures emerge in tandem with the percussion. This recording is the second-best known, next to the ECM Records version of the piece, and is warm and colorfully tingling.

01. Pulses
02. Section I
03. Section II
04. Section III A
05. Section III B
06. Section IV
07. Section V
08. Section VI
09. Section VII
10. Section VIII
11. Section IX
12. Section X
13. Section XI
14. Pulses

Grand Valley State University New Music Ensemble, Conducted by Bill Ryan.

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May 26

Hank Snow – Heartbreak Trail (1965/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 35:16 minutes | 757 MB | Genre: Country
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Front Cover |  © Columbia – Legacy

Clarence Eugene “Hank” Snow (May 9, 1914 – December 20, 1999) was a celebrated Canadian country music artist. In a career that spanned more than 50 years, he recorded 140 albums and charted more than 85 singles on the Billboard country charts from 1950 until 1980. His number-one hits include the self-penned songs “I’m Moving On”, “The Golden Rocket” and famous versions of “I Don’t Hurt Anymore”, “Let Me Go, Lover!”, “I’ve Been Everywhere”, “Hello Love”, as well as other top 10 hits.

Snow was an accomplished songwriter whose clear, baritone voice expressed a wide range of emotions including the joys of freedom and travel as well as the anguish of tortured love. His music was rooted in his beginnings in small-town Nova Scotia where, as a frail, 80-pound youngster, he endured extreme poverty, beatings and psychological abuse as well as physically punishing labour during the economically depressed 1920s and 1930s. Through it all, his musically talented mother provided the emotional support he needed to pursue his dream of becoming a famous entertainer like his idol, the country star, Jimmie Rodgers.

As a performer of traditional country music, Snow won numerous awards and is a member of the Country Music Hall of Fame, the Canadian Country Music Hall of Fame and the Canadian Music Hall of Fame. The Hank Snow Museum in Liverpool, Nova Scotia celebrates his life and work in a province where his fans still see him as an inspirational figure who triumphed over personal adversity to become one of the most influential artists in all of country music.


1 Tear Drops In My Heart 3:03
2 Ridin’ Home 2:04
3 Heart Break Trail 2:29
4 Cool Water 4:00
5 Tumbling Tumbleweeds 2:45
6 At The Rainbow’s End 3:27
7 The Texas Plains 3:04
8 Chant Of The Wanderer 2:29
9 On The Rhythm Range 2:36
10 Following The Sun All Day 3:00
11 The Wayward Wind 2:28
12 Patanio,The Pride Of The Plain 2:55

Hank Snow – Guitar, Vocals
Ray Edenton – Guitar
Buddy Harman – Drums
Marvin Hughes – Piano
Anita Kerr – Accompaniment
Bill McElhiney – Trumpet
Bob Moore – Bass
Chubby Wise – Fiddle

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