The soundtrack to David Lynch's brilliant Lost Highway highlights the evocative gothic nightmares of producer Trent Reznor, whose Nine Inch Nails contribute the single "The Perfect Drug". Along with material from longtime Lynch collaborator Angelo Badalamenti, the set also includes new music from the Smashing Pumpkins, Marilyn Manson and Lou Reed, who offers a taut cover of the Doc Pomus classic "This Magic Moment".
The Adam Eckersley Band infuse harmony laden country rock with a southern rock feel in well crafted songs that put a balanced emphasis on riffs, soulful grooves and uplifting choruses. And it’s their willingness to stretch out musically and over genres that makes them interesting. Their songs always leave plenty of room to jam and groove, even if they don’t always take advantage of that. And if there’s a downside, it’s simply that their crossover style might struggle to get a hearing in a Nashville dominated music scene currently over populated by denim clad cowboys with heartland lyrics, big choruses and a power guitar solo.
Lost Highway is the tenth studio album by American rock band Bon Jovi. Produced by John Shanks and Dann Huff, the album was recorded at Black Bird Studios, Nashville and NGR Recording, Hollywood. The album influences the band's rock sound with that of country music following the success of a country version of the band's 2006 single "Who Says You Can't Go Home", a duet with Jennifer Nettles, which reached No. 1 on the U.S. country chart in May 2006. Following the success had with the duet version of "Who Says You Can't Go Home", there are two songs on the album produced in collaboration with other artists, namely "We Got It Going On" featuring Big & Rich and the single "Till We Ain't Strangers Anymore" featuring LeAnn Rimes.
The four-part, four-hour documentary travels the Lost Highway and uncovers the story of country music on a journey to the heart of America and the music that has come to define it. From the makers of the award-winning series Dancing in the Street and Walk On By comes another major heritage music series charting the history of American country music in the words of its greatest performers, producers, musicians and songwriters.
Lucinda Williams does anguish so well it’s easy to forget that Happy Woman Blues is not just the title of her 1980 album, but also the way she thinks of herself. That identity comes across full force in Little Honey, the follow-up to 2007’s heavily brooding West, where her melancholy voice seemed to creak with sadness. Here, a full-throated Williams revels in the rejuvenation of her engagement to her manager/co-producer Tom Overby, over whom she’s positively giddy on "Real Love." Her newfound bliss opens the floodgates to a musical revival, as well, since Little Honey, her ninth studio album, ranks as one of her most diverse, ranging from pounding rock ‘n’ roll (the raw sex of the title track) to the Hank Williams-ish country blues of "Well, Well, Well," to "Knowing"'s ‘60s soul. But some of the finest writing appears on "Plan to Marry," as thoughtful a meditation on love as any time-honored sonnet. Just when Williams seems to have run the gamut, she pulls out a Stones-y (via Louisiana) cover of AC/DC’s "It’s a Long Way to the Top" as the punctuation mark. It all makes for a rollicking ride with one of roots-rock's most unpredictable and passionate artists.
Lucinda Williams has earned a reputation for her meticulous approach to making albums, but a careful listen to her work suggests that she isn't trying to make her music sound perfect, she just wants it to sound right, and she isn't afraid to spend the extra time waiting for the charmed moment to get caught on tape. This attitude seems to be borne out in her first-ever concert album, Live @ The Fillmore, which manages to sound carefully considered, and a model of "warts and all" authenticity at the same time.
Blessed, the stunning new album from three-time Grammy Award-winner Lucinda Williams is set for release on March 1st 2011 by Lost Highway. Considered by many to be one of America's greatest living songwriters, Williams lives up to that and more by delivering 12 new songs that cover an even wider emotional spectrum than her previous work, without moving too far in any one direction. Blessed opens with the gritty kiss-off "Buttercup" then moves seamlessly into the sultry blues of "Born To Be Loved". Williams delves into a heavier subject as she questions the motives for a suicide on the hard-driving "Seeing Black", which features blistering guitar from Elvis Costello. The thoughtful title track slowly builds to a melodic climax as it offers an eye-opening look at what's right in front of us, but too often unnoticed.