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Ab
HI-RES25,49 Fr.
CD17,99 Fr.

Country - Erschienen am 9. Juni 2017 | Capitol Records Nashville

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Lady A took a breather after 2014's 747, with Charles Kelley and Hillary Scott both releasing solo albums in 2016, while Dave Haywood produced the country-pop trio Post Monroe. Reconvening, the group teamed up with Busbee -- the buzz producer of 2017 thanks to his lithe, clever production for Maren Morris' 2016 debut Hero -- and headed out to the west coast to cut Heart Break. Lady A have steadily drifted toward the smooth sounds of soft rock, and recording in Southern California only accentuates their inherent mellowness. Busbee adds some flash to Lady A, particularly on the numbers that are just a shade lively. "You Look Good" cooks with a vaguely funky beat, canned synth-horns, and busy drum loops; "Good Time to Be Alive" aspires to be an affirming anthem echoing off the walls of stadiums; "Think About You" moves along to a clean, chipper hook, and "Teenage Heart" achieves a synthesis of open-road country and Lumineers-styled stomp-alongs. These are the exceptions to the sweet, soft rule, though. The rest of Heart Break is split between slow tunes -- either songs of love won or lost (notably, the title track does not belong to this latter category) -- and sugary midtempo numbers graced by the group's supple harmonies. It's mood music and designed to be as such: The alluring sheen doesn't intend to grab the ear but burrows into the subconscious, so the melodies are remembered upon repeated plays. Perhaps the songs often resemble one another, but isolate individual tracks -- especially on radio -- and they each seem sturdy and friendly, the kind of music that is proudly pleasant. © Stephen Thomas Erlewine /TiVo
Ab
CD20,49 Fr.

Country - Erschienen am 1. Januar 2013 | Capitol Records Nashville

Die drei Bandmitglieder Charles Kelley, Dave Haywood und Hillary Scott, die das Cover des vierten Albums zieren, führen den Stilmix ihres selbstbetitelten Debüts aus dem Jahre 2008 fort: Harmony Vocals treffen auf Folk, Poprock und Country. Nur der Umstand, dass auf dieser Platte viele der Songs vom Trio selbst geschrieben wurden, hebt dieses Countrywerk von den Vorgängern ab. Die aus Nashville stammende Crossover-Band, die sich seit 2013 als siebenfacher Grammypreisträger und Verkäufer von über 11 Millionen Tonträgern bezeichnen darf, widmet sich auch auf diesem Album in erster Linie wieder Midtempo-Songs, die mit Pedal-Steel-Guitar (z.B. "Can't Stand the Rain" oder "Generation Away") den Sound markant bereichern. © TiVo
Ab
CD20,49 Fr.

Country - Erschienen am 1. Januar 2013 | Capitol Records Nashville

Ab
CD24,49 Fr.
747

Country - Erschienen am 30. September 2014 | Capitol Records Nashville

Ab
CD20,49 Fr.
747

Country - Erschienen am 6. Oktober 2014 | Capitol Records Nashville

Lady A severed ties with their longtime producer Paul Worley for 2014's 747, choosing instead to work with Nathan Chapman. His best-known work was for the Band Perry and, especially, Taylor Swift's Fearless and Speak Now, a good indication that the trio was looking to capitalize on the soft pop crossover of "Compass," the extra tune that helped 2013's Golden turn into another big smash. Certainly, 747 plays like a pristine pop album, reliant on clean corners and slick surfaces, and peppered with references to such modern sensations as Macklemore and 2014's it-boy Matthew McConaughey. Lady A always have been a pop band so this concentrated gloss doesn't feel inappropriate. If anything, it feels like acceptance, as if the trio is embracing all of its crossover inclinations while cutting away the corniness that led to such previous missteps as "Generation Away." Perhaps some of this focus is due to the presence of Chapman, who helped Swift craft her blockbusters, and he performs a similar task here, sculpting a clean, friendly sound that showcases the trio at its best. Nevertheless, all of the credit can't be placed at his feet as the band possesses a fair amount of the songwriting copyrights here and, when combined with contributions by such Nashville mainstays as Shane McAnally and Gordie Sampson, it adds up to one of the trio's strongest albums. © Stephen Thomas Erlewine /TiVo
Ab
CD20,49 Fr.
747

Country - Erschienen am 6. Oktober 2014 | Capitol Records Nashville

Lady A severed ties with their longtime producer Paul Worley for 2014's 747, choosing instead to work with Nathan Chapman. His best-known work was for the Band Perry and, especially, Taylor Swift's Fearless and Speak Now, a good indication that the trio was looking to capitalize on the soft pop crossover of "Compass," the extra tune that helped 2013's Golden turn into another big smash. Certainly, 747 plays like a pristine pop album, reliant on clean corners and slick surfaces, and peppered with references to such modern sensations as Macklemore and 2014's it-boy Matthew McConaughey. Lady A always have been a pop band so this concentrated gloss doesn't feel inappropriate. If anything, it feels like acceptance, as if the trio is embracing all of its crossover inclinations while cutting away the corniness that led to such previous missteps as "Generation Away." Perhaps some of this focus is due to the presence of Chapman, who helped Swift craft her blockbusters, and he performs a similar task here, sculpting a clean, friendly sound that showcases the trio at its best. Nevertheless, all of the credit can't be placed at his feet as the band possesses a fair amount of the songwriting copyrights here and, when combined with contributions by such Nashville mainstays as Shane McAnally and Gordie Sampson, it adds up to one of the trio's strongest albums. © Stephen Thomas Erlewine /TiVo
Ab
CD24,49 Fr.
747

Country - Erschienen am 6. Oktober 2014 | Capitol Records Nashville

Lady A severed ties with their longtime producer Paul Worley for 2014's 747, choosing instead to work with Nathan Chapman. His best-known work was for the Band Perry and, especially, Taylor Swift's Fearless and Speak Now, a good indication that the trio was looking to capitalize on the soft pop crossover of "Compass," the extra tune that helped 2013's Golden turn into another big smash. Certainly, 747 plays like a pristine pop album, reliant on clean corners and slick surfaces, and peppered with references to such modern sensations as Macklemore and 2014's it-boy Matthew McConaughey. Lady A always have been a pop band so this concentrated gloss doesn't feel inappropriate. If anything, it feels like acceptance, as if the trio is embracing all of its crossover inclinations while cutting away the corniness that led to such previous missteps as "Generation Away." Perhaps some of this focus is due to the presence of Chapman, who helped Swift craft her blockbusters, and he performs a similar task here, sculpting a clean, friendly sound that showcases the trio at its best. Nevertheless, all of the credit can't be placed at his feet as the band possesses a fair amount of the songwriting copyrights here and, when combined with contributions by such Nashville mainstays as Shane McAnally and Gordie Sampson, it adds up to one of the trio's strongest albums. © Stephen Thomas Erlewine /TiVo
Ab
CD17,99 Fr.

Country - Erschienen am 9. Juni 2017 | Capitol Records Nashville

Lady A took a breather after 2014's 747, with Charles Kelley and Hillary Scott both releasing solo albums in 2016, while Dave Haywood produced the country-pop trio Post Monroe. Reconvening, the group teamed up with Busbee -- the buzz producer of 2017 thanks to his lithe, clever production for Maren Morris' 2016 debut Hero -- and headed out to the west coast to cut Heart Break. Lady A have steadily drifted toward the smooth sounds of soft rock, and recording in Southern California only accentuates their inherent mellowness. Busbee adds some flash to Lady A, particularly on the numbers that are just a shade lively. "You Look Good" cooks with a vaguely funky beat, canned synth-horns, and busy drum loops; "Good Time to Be Alive" aspires to be an affirming anthem echoing off the walls of stadiums; "Think About You" moves along to a clean, chipper hook, and "Teenage Heart" achieves a synthesis of open-road country and Lumineers-styled stomp-alongs. These are the exceptions to the sweet, soft rule, though. The rest of Heart Break is split between slow tunes -- either songs of love won or lost (notably, the title track does not belong to this latter category) -- and sugary midtempo numbers graced by the group's supple harmonies. It's mood music and designed to be as such: The alluring sheen doesn't intend to grab the ear but burrows into the subconscious, so the melodies are remembered upon repeated plays. Perhaps the songs often resemble one another, but isolate individual tracks -- especially on radio -- and they each seem sturdy and friendly, the kind of music that is proudly pleasant. © Stephen Thomas Erlewine /TiVo
Ab
CD20,49 Fr.
747

Country - Erschienen am 6. Oktober 2014 | Capitol Records Nashville

Lady A severed ties with their longtime producer Paul Worley for 2014's 747, choosing instead to work with Nathan Chapman. His best-known work was for the Band Perry and, especially, Taylor Swift's Fearless and Speak Now, a good indication that the trio was looking to capitalize on the soft pop crossover of "Compass," the extra tune that helped 2013's Golden turn into another big smash. Certainly, 747 plays like a pristine pop album, reliant on clean corners and slick surfaces, and peppered with references to such modern sensations as Macklemore and 2014's it-boy Matthew McConaughey. Lady A always have been a pop band so this concentrated gloss doesn't feel inappropriate. If anything, it feels like acceptance, as if the trio is embracing all of its crossover inclinations while cutting away the corniness that led to such previous missteps as "Generation Away." Perhaps some of this focus is due to the presence of Chapman, who helped Swift craft her blockbusters, and he performs a similar task here, sculpting a clean, friendly sound that showcases the trio at its best. Nevertheless, all of the credit can't be placed at his feet as the band possesses a fair amount of the songwriting copyrights here and, when combined with contributions by such Nashville mainstays as Shane McAnally and Gordie Sampson, it adds up to one of the trio's strongest albums. © Stephen Thomas Erlewine /TiVo
Ab
CD2,99 Fr.

Country - Erschienen am 1. Januar 2014 | Capitol Records Nashville

Ab
CD2,99 Fr.

Country - Erschienen am 1. Januar 2014 | Capitol Records Nashville

Ab
CD2,99 Fr.

Country - Erschienen am 1. Januar 2013 | Capitol Records Nashville