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Ashley Monroe|Like a Rose

Like a Rose

Ashley Monroe

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Ashley Monroe spent several years struggling to get heard in Nashville, establishing some behind-the-scenes bona fides by writing songs and singing backing vocals at Jack White's Third Man studios before things started to break her way in a big fashion in 2011, when she teamed with Miranda Lambert and Angaleena Presley as the Pistol Annies. Lambert's star helped sell the trio, but Monroe was a pivotal part of their debut Hell on Heels which, in turn, led to her securing a contract with Warner Nashville, who released Like a Rose early in 2013. Produced by Vince Gill, Like a Rose expertly balances sweet, slightly sad ballads with devilishly funny, modern honky tonk, songs where Monroe asks for "Weed Instead of Roses" and trades barbs with Blake Shelton on the diss-duet "You Ain't Dolly." Here, Monroe strikes a tricky balance between satire and sincerity, never quite tipping the scales in favor of novelty, which is a testament to her savviness as a songwriter and a singer. Monroe is enamored with tradition, pushing fiddles to the foreground and sometimes succumbing to the smoky sway of a slow dance at a dancehall, but she's not a retro-singer, she's a modern girl hauling old ways into the present. This blend of contemporary attitudes and classic sounds is insinuating and addictive, particularly because at nine songs, it's too brief -- once it's through, the album practically begs you to start all over again.

© Stephen Thomas Erlewine /TiVo

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Like a Rose

Ashley Monroe

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1
Like a Rose
00:03:50

Guy Clark, Writer - Richard Bennett, Acoustic Guitar - Michael Rhodes, Bass - Jon Randall, Writer - Ashley Monroe, Lead Vocals, Writer, MainArtist - Dennis Crouch, Upright Bass - Paul Franklin, Pedal Steel Guitar - Vince Gill, Producer, Acoustic Guitar, Background Vocals - JUstin Niebank, Producer, MixingEngineer - Drew Bollman, AssistantEngineer - Greg Morrow, Drums - STEVE GIBSON, Acoustic Guitar - Tony Harrell, Accordion - Matt Rausch, AssistantEngineer

© 2013 Warner Records Inc. ℗ 2013 Warner Records Inc.

2
Two Weeks Late
00:03:48

Richard Bennett, Acoustic Guitar - Wes Hightower, Background Vocals - Michael Rhodes, Bass - Ashley Monroe, Lead Vocals, Writer, MainArtist - Dennis Crouch, Upright Bass - Paul Franklin, Pedal Steel Guitar - Vince Gill, Producer, Acoustic Guitar - JUstin Niebank, Producer, MixingEngineer - Drew Bollman, AssistantEngineer - Greg Morrow, Drums - Rebecca Lynn Howard, Background Vocals - STEVE GIBSON, Electric Guitar - Tony Harrell, Piano - Matt Rausch, AssistantEngineer - Shane McAnally, Writer

© 2013 Warner Records Inc. ℗ 2013 Warner Records Inc.

3
Used
00:03:24

John Jarvis, Synthesizer - Richard Bennett, Acoustic Guitar - Stuart Duncan, Fiddle - Sally Barris, Writer - Ashley Monroe, Lead Vocals, Writer, MainArtist - Dennis Crouch, Upright Bass - Mike Brignardello, Bass - Paul Franklin, Pedal Steel Guitar - Vince Gill, Producer, Acoustic Guitar - Richard Marx, Background Vocals - JUstin Niebank, Producer, MixingEngineer - Drew Bollman, AdditionalEngineer, AssistantEngineer - Eric Darken, Percussion - Greg Morrow, Drums - Rebecca Lynn Howard, Background Vocals - STEVE GIBSON, Electric Guitar - Matt Rausch, AssistantEngineer

© 2013 Warner Records Inc. ℗ 2013 Warner Records Inc.

4
Weed Instead of Roses
00:03:19

Jon McElroy, Writer - Richard Bennett, Additional Guitar - Stuart Duncan, Fiddle - Wes Hightower, Background Vocals - Sally Barris, Writer - Ashley Monroe, Lead Vocals, Writer, MainArtist - Dennis Crouch, Upright Bass - Mike Brignardello, Bass - Paul Franklin, Pedal Steel Guitar - Vince Gill, Producer, Electric Guitar, Background Vocals - JUstin Niebank, Producer, MixingEngineer - Drew Bollman, AssistantEngineer - Eric Darken, Percussion - Greg Morrow, Drums - STEVE GIBSON, Electric Guitar - Matt Rausch, AssistantEngineer

© 2013 Warner Records Inc. ℗ 2013 Warner Records Inc.

5
You Got Me
00:03:11

John Jarvis, Organ - Richard Bennett, Acoustic Guitar - Jimi Westbrook, Background Vocals - Karen Fairchild, Writer, Background Vocals - Ashley Monroe, Lead Vocals, Writer, MainArtist - Dennis Crouch, Upright Bass - Kimberly Schlapman, Background Vocals - Mike Brignardello, Bass - Paul Franklin, Dobro - Vince Gill, Producer, Acoustic Guitar - JUstin Niebank, Producer, MixingEngineer - Drew Bollman, AssistantEngineer - Eric Darken, Percussion - Greg Morrow, Drums - STEVE GIBSON, Electric Guitar - Matt Rausch, AdditionalEngineer, AssistantEngineer - Philip Sweet, Background Vocals

© 2013 Warner Records Inc. ℗ 2013 Warner Records Inc.

6
The Morning After
00:04:23

Richard Bennett, Acoustic Guitar - Stuart Duncan, Fiddle - Liz Rose, Writer - Michael Rhodes, Bass - Jon Randall, Background Vocals - Lori McKenna, Writer - Ashley Monroe, Lead Vocals, Writer, MainArtist - Dennis Crouch, Upright Bass - Paul Franklin, Pedal Steel Guitar - Vince Gill, Producer, Acoustic Guitar, Background Vocals - JUstin Niebank, Producer, MixingEngineer - Drew Bollman, AssistantEngineer - Greg Morrow, Drums - STEVE GIBSON, Electric Guitar - Tony Harrell, Piano - Matt Rausch, AdditionalEngineer, AssistantEngineer - Andrea Zonn, Background Vocals

© 2013 Warner Records Inc. ℗ 2013 Warner Records Inc.

7
Monroe Suede
00:02:33

John Jarvis, Piano - Richard Bennett, Electric Guitar - Stuart Duncan, Fiddle - Michael Rhodes, Bass - Ashley Monroe, Lead Vocals, Writer, MainArtist - Dennis Crouch, Upright Bass - Paul Franklin, Pedal Steel Guitar - Vince Gill, Producer, Acoustic Guitar, Writer, Background Vocals - JUstin Niebank, Producer, MixingEngineer - Drew Bollman, AssistantEngineer - Eric Darken, Percussion - Greg Morrow, Drums - STEVE GIBSON, Electric Guitar - Matt Rausch, AssistantEngineer

© 2013 Warner Records Inc. ℗ 2013 Warner Records Inc.

8
She's Driving Me Out of Your Mind
00:03:18

John Jarvis, Piano - Richard Bennett, Acoustic Guitar - Stuart Duncan, Fiddle - Carl Jackson, Background Vocals - Jon Randall, Writer - Ashley Monroe, Lead Vocals, Writer, MainArtist - Dennis Crouch, Upright Bass - Mike Brignardello, Bass - Paul Franklin, Pedal Steel Guitar - Vince Gill, Producer, Acoustic Guitar - JUstin Niebank, Producer, MixingEngineer - Drew Bollman, AdditionalEngineer, AssistantEngineer - Sonya Isaacs, Background Vocals - Greg Morrow, Drums - STEVE GIBSON, Electric Guitar - Matt Rausch, AdditionalEngineer, AssistantEngineer

© 2013 Warner Records Inc. ℗ 2013 Warner Records Inc.

9
You Ain't Dolly (And You Ain't Porter) [Duet with Blake Shelton]
00:04:03

John Jarvis, Piano - Richard Bennett, Acoustic Guitar - Stuart Duncan, Fiddle - Michael Rhodes, Bass - Ashley Monroe, Composer, Lead Vocals, Writer, MainArtist - Blake Shelton, Vocals, FeaturedArtist - Dennis Crouch, Upright Bass - Paul Franklin, Pedal Steel Guitar - Vince Gill, Composer, Producer, Writer - JUstin Niebank, Producer, MixingEngineer - Drew Bollman, AssistantEngineer - Greg Morrow, Drums - STEVE GIBSON, Electric Guitar - Matt Rausch, AdditionalEngineer, AssistantEngineer

© 2013 Warner Records Inc. ℗ 2013 Warner Records Inc.

Albumbeschreibung

Ashley Monroe spent several years struggling to get heard in Nashville, establishing some behind-the-scenes bona fides by writing songs and singing backing vocals at Jack White's Third Man studios before things started to break her way in a big fashion in 2011, when she teamed with Miranda Lambert and Angaleena Presley as the Pistol Annies. Lambert's star helped sell the trio, but Monroe was a pivotal part of their debut Hell on Heels which, in turn, led to her securing a contract with Warner Nashville, who released Like a Rose early in 2013. Produced by Vince Gill, Like a Rose expertly balances sweet, slightly sad ballads with devilishly funny, modern honky tonk, songs where Monroe asks for "Weed Instead of Roses" and trades barbs with Blake Shelton on the diss-duet "You Ain't Dolly." Here, Monroe strikes a tricky balance between satire and sincerity, never quite tipping the scales in favor of novelty, which is a testament to her savviness as a songwriter and a singer. Monroe is enamored with tradition, pushing fiddles to the foreground and sometimes succumbing to the smoky sway of a slow dance at a dancehall, but she's not a retro-singer, she's a modern girl hauling old ways into the present. This blend of contemporary attitudes and classic sounds is insinuating and addictive, particularly because at nine songs, it's too brief -- once it's through, the album practically begs you to start all over again.

© Stephen Thomas Erlewine /TiVo

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