Old Crow releases "Live From the Ryman"
Monday, July 22, 2019
– Old Crow Medicine Show will release "Live From The Ryman" on Sept. 20 on Columbia.
OCMS debuted at the Opry at the Ryman in 2001, and by 2005, were headlining their own shows at the venue. The band's New Year's Eve shows began in 2009. Old Crow Medicine Show has played the Ryman stage over 40 times.
Songs include "CC Rider," a blues song recorded by "Ma" Rainey, "Will The Circle Be Unbroken", made famous by the Carter family, and "Louisiana Woman, Mississippi Man", which was performed on the Ryman stage by Loretta Lynn and Conway Twitty in the 1970's.
The track listing is:
Tell It To Me
Shout Mountain Music
Take 'Em Away
Brushy Mountain Conjugal Trailer
Louisiana Woman, Mississippi Man
Will The Circle Be Unbroken
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CD reviews for Old Crow Medicine Show
Live From the Ryman
The very best way - the only way, really - to see Old Crow Medicine Show is live. Like its namesake, the medicine shows of old that were part preaching, part snake oil sales pitches, part old time music and pure entertainment, the band delivers a high-energy performance that keeps the crowd on its feet the entire show.
This album includes the band's performances recorded between 2013 and 2019 at the Ryman Auditorium in Nashville, and what better place than the Mother Church of country music »»»
Dave Cobb produced "Volunteer" for Old Crow Medicine Show, and while word on the street was that this promised to be a more rocking, less roots music effort, such talk shouldn't dissuade fans of the group's established sound from checking it out. Sure, there may be a little more electric guitar than on past efforts, but this is still very much OCMS music.
While rock and roll is not the best term for these songs, perhaps rambunctious best describes some of them. »»»
50 Years of Blonde on Blonde
Whenever an artist attempts to cover a classic work in whole, it can't help but seem like a somewhat audacious effort from the outset. After all, tackling an album that's stood the test of time, one that's already an integral part of the musical lexicon in its original form, is a formidable task. At best, the original artist's imprint is difficult to supersede, but at worst it can become a regrettable error that yields disastrous results.
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