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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
CD23,49 Fr.

Country - Erschienen am 1. Januar 2010 | Capitol Nashville

Booklet
Ab
CD19,49 Fr.

Country - Erschienen am 26. Januar 2010 | Capitol Nashville

Lady A prefaced the release of Need You Now by issuing its title track as a single; it reached the top spot on the country charts and stayed there for five straight weeks. It was their second number one, and they wasted no time following it with "American Honey," which appeared a mere two months before this set was in stores. This singing/songwriting trio -- lead vocalists Charles Kelly and Hillary Scott, with multi-instrumentalist and backing vocalist Dave Haywood -- understand how Nashville works, and they know how to work it. On their sophomore effort, they stick very close to the formula of their debut: a slew of mid- and uptempo love songs, a sad ballad, and a couple of rocked-up good-time tunes, all self-written with some help from some of Nashville’s most respected writers. Kelly’s baritone is emotive, expressive, and deep in the pocket, no matter what he’s singing. He shines on the soft rocking "Love This Pain," which could have been a single. Scott's voice is a little less distinctive, but she does possess a unique form of phrasing and reaches deeply into her protagonist’s personal situations, whether it's the celebratory good-time girl in "American Honey" or the wildly-in-love mature woman on "Hold on Tight." The group party anthem on the set -- an obligatory addition these days -- is "Stars Tonight," which contains more than a few clichés, but has a killer guitar riff and an infectious chorus. With co-production from Paul Worley, Lady A prove there is no sophomore slump on Need You Now. Here, the band's seamless, polished, and savvy brand of contemporary country is even more consistent than it was on their debut; it’s virtually flawless in its songwriting, production, and performance. © Thom Jurek /TiVo
Ab
CD20,49 Fr.

Country - Erschienen am 13. September 2011 | Capitol 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.

Country - Erschienen am 1. Januar 2010 | Capitol 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
HI-RES28,99 Fr.
CD20,49 Fr.

Country - Erschienen am 15. November 2019 | BMLG Records

Hi-Res
Ocean represents something of a re-centering for Lady A. Arriving in November 2019, a few months after the conclusion of their brief Our Kind of Vegas residency, Ocean finds the trio recording with a new label, and a new producer, Dann Huff, who has been on a hot country streak since helming some of Taylor Swift's Red in 2012. The group may have departed Capitol Nashville for Big Machine, but Ocean sounds like the group returning to the kind of warm, soft-focus country-pop that established them as hitmakers ten years earlier. Lady A don't deny they're a decade older anywhere on Ocean. The album is filled with songs about enduring love, both romantic and familial. It's telling that "What I'm Leaving For" -- a ballad about the heartache of leaving a loving home -- was among the songs that teased the album: its unabashed sentiment is the keystone of Ocean, plus the trio's revival of their close-knit soft-rock harmonies. Compared to the subdued glitz of Heart Break, their modern-minded 2017 collaboration with busbee, Ocean feels reserved and cautious, but it also feels soothing and welcoming. The whole thing rolls so smoothly, it's easy not to realize that the lightly grooving "Pictures" is a song of heartbreak, but that's the intent of Lady A with their seventh album: They mean to offer comfort, and that's precisely what Ocean delivers. © 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
CD20,49 Fr.

Country - Erschienen am 15. November 2019 | BMLG Records

Ocean represents something of a re-centering for Lady A. Arriving in November 2019, a few months after the conclusion of their brief Our Kind of Vegas residency, Ocean finds the trio recording with a new label, and a new producer, Dann Huff, who has been on a hot country streak since helming some of Taylor Swift's Red in 2012. The group may have departed Capitol Nashville for Big Machine, but Ocean sounds like the group returning to the kind of warm, soft-focus country-pop that established them as hitmakers ten years earlier. Lady A don't deny they're a decade older anywhere on Ocean. The album is filled with songs about enduring love, both romantic and familial. It's telling that "What I'm Leaving For" -- a ballad about the heartache of leaving a loving home -- was among the songs that teased the album: its unabashed sentiment is the keystone of Ocean, plus the trio's revival of their close-knit soft-rock harmonies. Compared to the subdued glitz of Heart Break, their modern-minded 2017 collaboration with busbee, Ocean feels reserved and cautious, but it also feels soothing and welcoming. The whole thing rolls so smoothly, it's easy not to realize that the lightly grooving "Pictures" is a song of heartbreak, but that's the intent of Lady A with their seventh album: They mean to offer comfort, and that's precisely what Ocean delivers. © Stephen Thomas Erlewine /TiVo
Ab
HI-RES25,49 Fr.
CD17,99 Fr.

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

Hi-Res
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
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
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.

Country - Erschienen am 26. Januar 2010 | Capitol Nashville

Lady A prefaced the release of Need You Now by issuing its title track as a single; it reached the top spot on the country charts and stayed there for five straight weeks. It was their second number one, and they wasted no time following it with "American Honey," which appeared a mere two months before this set was in stores. This singing/songwriting trio -- lead vocalists Charles Kelly and Hillary Scott, with multi-instrumentalist and backing vocalist Dave Haywood -- understand how Nashville works, and they know how to work it. On their sophomore effort, they stick very close to the formula of their debut: a slew of mid- and uptempo love songs, a sad ballad, and a couple of rocked-up good-time tunes, all self-written with some help from some of Nashville’s most respected writers. Kelly’s baritone is emotive, expressive, and deep in the pocket, no matter what he’s singing. He shines on the soft rocking "Love This Pain," which could have been a single. Scott's voice is a little less distinctive, but she does possess a unique form of phrasing and reaches deeply into her protagonist’s personal situations, whether it's the celebratory good-time girl in "American Honey" or the wildly-in-love mature woman on "Hold on Tight." The group party anthem on the set -- an obligatory addition these days -- is "Stars Tonight," which contains more than a few clichés, but has a killer guitar riff and an infectious chorus. With co-production from Paul Worley, Lady A prove there is no sophomore slump on Need You Now. Here, the band's seamless, polished, and savvy brand of contemporary country is even more consistent than it was on their debut; it’s virtually flawless in its songwriting, production, and performance. © Thom Jurek /TiVo
Ab
CD17,99 Fr.

Country - Erschienen am 15. April 2008 | Capitol Nashville

Booklet
Lady A is a two-guys-and-a-girl trio comprised of co-lead singers Charlie Kelley and Hillary Scott with multi-instrumentalist Dave Haywood. The group is also a songwriting collective, a Nashville rarity, co-writing most of the songs on its self-titled debut album. The three may have come up with material as good as what a publisher could have provided, although they never stray too far from formula, as reused titles like "Love Don't Live Here," "Long Gone," "I Run to You," "Home Is Where the Heart Is," and "Can't Take My Eyes Off You," suggest. Love is true or false, depending on the song, or it's forgotten in the honky tonk haze of "Lookin' for a Good Time." Kelley has a sturdy country baritone, but he sometimes sounds a bit too pleased with his own rich tone and comes off mannered. Scott, by contrast, seems to know that her voice can't match Kelley's for distinctiveness, so she works harder at coming up with striking phrasing and emotional force. The contrast gives their duets a chemistry that is the band's strongest element. Producers Victoria Shaw and Paul Worley give the record a pop/rock sound, with plenty of guitars and rhythmic punch, the better to goose a little more feeling from the singers. At this point, Lady A is a group that seems to know the basics of contemporary country but isn't ready to move beyond them or redefine them for its own ends. Still, this is a good beginning. © William Ruhlmann /TiVo
Ab
CD11,99 Fr.

Country - Erschienen am 1. Januar 2011 | Capitol Nashville

Ab
HI-RES14,49 Fr.
CD10,49 Fr.

Country - Erschienen am 4. März 2020 | BMLG Records

Hi-Res
Ab
CD10,49 Fr.

Country - Erschienen am 4. März 2020 | BMLG Records