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Alex Williams|Better Than Myself (Big Machine Radio Release Special)

Better Than Myself (Big Machine Radio Release Special)

Alex Williams

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Langue disponible : anglais

Because Alex Williams is signed to Big Machine, the Nashville powerhouse that Taylor Swift and Rascal Flatts call home, there may be a tendency to view Alex Williams as the pop version of Chris Stapleton -- a singer/songwriter who is riding a trend instead of creating it. Truth is more complicated than this reductive formula, of course. Stapleton himself worked his way up through the farm system of Music City long before he struck paydirt with his 2015 album Traveller, a record so successful that it shifted the tides of a certain portion of Nashville. Stapleton opened the door for a record as influenced by '70s outlaw country as Williams' 2017 debut Better Than Myself to be considered mainstream, and that's a good thing. With the assistance of producer Julian Raymond -- a Grammy winner for Glen Campbell's 2014 song "I'm Not Gonna Miss You" -- Williams expertly re-creates the lean, rangy sound of prime Waylon Jennings. Better Than Myself moves with a relaxed, confident swagger and its leathery rhythms are dressed in snapping Telecasters and winding steel guitar. It's a perfect bed for Williams' drawl, and his laconic delivery not only recalls that of Jamey Johnson, but signals his age. Where his idol Waylon boasted a full-throated vocal style, Williams feels appealingly lackadaisical, with a laid-back attitude that suits his tales of freak flags, old tattoos, strange days, and weed quite well. As sheer sonics, all these qualities make Better Than Myself pleasing, but it sustains its pleasure thanks to the sturdiness of Williams' songcraft. He learned a lot about constructing songs from listening to those old records, so he gives Raymond a good framework upon which to build these outlaw fantasies. It all adds up to a fine debut that's as effective as pure music as it is individual songs.

© Stephen Thomas Erlewine /TiVo

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Better Than Myself (Big Machine Radio Release Special)

Alex Williams

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1
Radio Intro (Commentary)
00:03:50

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

2
Better Than Myself (Commentary)
00:01:25

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

3
Better Than Myself
00:03:11

Greg Becker, ComposerLyricist - Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

4
Hellbent Hallelujah (Commentary)
00:01:04

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

5
Hellbent Hallelujah
00:03:58

Neal Coty, ComposerLyricist - Jimmy Melton, ComposerLyricist - Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

6
More Than Survival (Commentary)
00:01:36

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

7
More Than Survival
00:04:06

Marshall Altman, ComposerLyricist - Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

8
Freak Flag (Commentary)
00:00:52

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

9
Freak Flag
00:04:16

Marshall Altman, ComposerLyricist - Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

10
Week Without A Drink (Commentary)
00:01:30

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

11
Week Without A Drink
00:03:34

Jimmy Yeary, ComposerLyricist - Brandon Kinney, ComposerLyricist - Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

12
Little Too Stoned (Commentary)
00:02:02

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

13
Little Too Stoned Explicit
00:04:37

Greg Becker, ComposerLyricist - Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

14
Old Tattoo (Commentary)
00:01:17

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

15
Old Tattoo
00:04:07

Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

16
Strange Days (Commentary)
00:01:34

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

17
Strange Days Explicit
00:03:43

Marshall Altman, ComposerLyricist - Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

18
Pay No Mind (Commentary)
00:01:13

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

19
Pay No Mind
00:03:31

Greg Becker, ComposerLyricist - Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

20
Can’t Get Enough Of You (Commentary)
00:01:17

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

21
Can't Get Enough Of You
00:04:19

Marshall Altman, ComposerLyricist - Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

22
Few Short Miles (Bobby’s Song) (Commentary)
00:01:27

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

23
Few Short Miles (Bobby's Song)
00:05:12

Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

24
Last Cross (Commentary)
00:02:34

Alex Williams, MainArtist, ComposerLyricist - Becca Walls, ComposerLyricist

℗ 2018 Big Machine Label Group, LLC

25
Last Cross
00:04:20

Greg Becker, ComposerLyricist - Alex Williams, MainArtist, ComposerLyricist

℗ 2017 Big Machine Label Group, LLC

Chronique

Because Alex Williams is signed to Big Machine, the Nashville powerhouse that Taylor Swift and Rascal Flatts call home, there may be a tendency to view Alex Williams as the pop version of Chris Stapleton -- a singer/songwriter who is riding a trend instead of creating it. Truth is more complicated than this reductive formula, of course. Stapleton himself worked his way up through the farm system of Music City long before he struck paydirt with his 2015 album Traveller, a record so successful that it shifted the tides of a certain portion of Nashville. Stapleton opened the door for a record as influenced by '70s outlaw country as Williams' 2017 debut Better Than Myself to be considered mainstream, and that's a good thing. With the assistance of producer Julian Raymond -- a Grammy winner for Glen Campbell's 2014 song "I'm Not Gonna Miss You" -- Williams expertly re-creates the lean, rangy sound of prime Waylon Jennings. Better Than Myself moves with a relaxed, confident swagger and its leathery rhythms are dressed in snapping Telecasters and winding steel guitar. It's a perfect bed for Williams' drawl, and his laconic delivery not only recalls that of Jamey Johnson, but signals his age. Where his idol Waylon boasted a full-throated vocal style, Williams feels appealingly lackadaisical, with a laid-back attitude that suits his tales of freak flags, old tattoos, strange days, and weed quite well. As sheer sonics, all these qualities make Better Than Myself pleasing, but it sustains its pleasure thanks to the sturdiness of Williams' songcraft. He learned a lot about constructing songs from listening to those old records, so he gives Raymond a good framework upon which to build these outlaw fantasies. It all adds up to a fine debut that's as effective as pure music as it is individual songs.

© Stephen Thomas Erlewine /TiVo

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