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Freedom Highway
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Freedom Highway
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From the brand
Track Listings
1 | At the Purchaser's Option |
2 | The Angels Laid Him Away |
3 | Julie |
4 | Birmingham Sunday |
5 | Better Get It Right the First Time |
6 | We Could Fly |
7 | Hey Bébé |
8 | Come Love Come |
9 | The Love We Almost Had |
10 | Baby Boy |
11 | Following the North Star |
12 | Freedom Highway (feat. Bhi Bhiman) |
Editorial Reviews
"Know thy history. Let it horrify you; let it inspire you. Let it show you how the future can look, for nothing in this world has not come around before. These songs are based on slave narratives from the 1800s, African American experiences of the last century, and the Civil Rights movement of the 1960s and headlines from streets of Ferguson and Baltimore today. Voices demanding to be heard, to impart the hard-earned wisdom of a tangled, difficult, complicated history; we just try to open the door and let them through." —Rhiannon Giddens
Freedom Highway, Grammy Award–winner and 2017 Grammy nominee Rhiannon Giddens' follow-up to her highly praised debut album Tomorrow Is My Turn, will be released by Nonesuch Records on February 24, 2017. The record includes nine original songs Giddens wrote or co-wrote while she and her band toured after Tomorrow Is My Turn's 2015 release, along with a traditional song and two civil rights-era songs, "Birmingham Sunday" and Staple Singers' well-known "Freedom Highway," from which the album takes its name. Giddens and the band will tour the U.S. in the spring; details will be announced shortly.
Giddens' writing for Freedom Highway is a departure from Tomorrow Is My Turn, which included one original song, with the rest being her interpretations of songs written or performed by a wide variety of female musicians. Giddens co-produced Freedom Highway with multi-instrumentalist Dirk Powell in his Breaux Bridge, Louisiana studio, with the bulk of recording done in wooden rooms built prior to the Civil War. As producers, Giddens and Powell sought to release the stories already in the walls, allowing the space to be a voice in itself. This approach allowed for an emotional fearlessness and presence not always easy to achieve in the studio. Together they assembled the players, which included her superb touring band, local musicians from the bayou, a soulful horn section from New York, and talented family members. The principle recording was done over an intense eight day period. The result is an album that is rawer and more personal than its predecessor.
Giddens wrote of the title track:
"I am a daughter of the South; of the white working class, of the black working class; of the Democrat, and the Republican; of the gay, and the straight; and I can tell you one thing—we are far more alike than we are different. We cannot let hate divide us; we cannot let ignorance diminish us; we cannot let those whose greed fills their every waking hour take our country from us. They can't take U.S. from US—unless we let them. I recorded this with Bhi Bhiman, all-American singer-songwriter from St. Louis, whose parents are from Sri Lanka. America's strength are her people, whether they came 4,000, 400, or 40 years ago, and we can't leave anyone behind. Let's walk down Freedom Highway together. Written by Pops Staples in 1965."
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 5.63 x 5 x 0.24 inches; 1.83 ounces
- Manufacturer : Nonesuch
- Original Release Date : 2017
- Date First Available : December 9, 2016
- Label : Nonesuch
- ASIN : B01N5CJPR3
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #21,849 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #380 in Opera & Vocal (CDs & Vinyl)
- #1,054 in Folk (CDs & Vinyl)
- Customer Reviews:
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She has been on my radar for years. How could she not be? I listen to folk music of all varieties, and it has been impossible to avoid the Carolina Chocolate Drops. Something about them just never really gelled for me. They had all the right pieces, but sometimes that isn't quite enough for me, and so it was for Giddens' previous work. Much of it has to do with how Giddens has approached music in the past, and my personal tastes. Giddens is a classically trained vocalist, and as you can hear, she has an operatic quality because she trained in opera. I don't like opera, nor really most forms of classical music. Giddens is astonishingly talented, but her singing tends towards the precise and clean. I link singers with more grit. There were other aspects of the Chocolate Drops, but, never mind.
Still, Giddens has stayed on my radar because her talent is impossible to ignore. And here it is, fully-formed and perfectly channeled. As I said, I like singers with some grit, and the challenge that a singer like Giddens has with me is that I am automatically biased against her for having a voice that is too technically perfect. I know, that sounds weird, but hey, taste is a personal thing. Give me Nina Simone over Ella Fitzgerald any day, crackle and rasp, and all. What a singer like Giddens needs to do to win me over is to do so with the arrangements. And she does that here. I think part of my issue with the Carolina Chocolate Drops was that the arrangements didn't give Giddens the room she needed to express the full range of her talent. Flemons, by the way, just put out a fine album with Martin Simpson, so it's not that they, themselves, were limited. It's just that it may not have been the right group for her. I just never heard the kind of innovation there that I hear on Freedom Highway.
Freedom Highway.
Wow. This is the full range of Rhiannon Giddens's talent. The arrangements give her the space to show her ability to sing from folk and string band music, which we knew, to jazz and funk and gospel and blues and everything, and the unifying themes of slavery and civil rights make this the kind of truly powerful album that Giddens has needed to record for years. If you just listened to the Carolina Chocolate Drops, this will come as a shock. It should. This is light years beyond her previous group in terms of weaving together influences into a unified whole, and that is what allows me to accept the perfection of her voice. And the power of her voice, because it comes from real, true feeling on the material here. This is truth. Rhiannon is singing the truth.
I wasn't really a Giddens fan before. I am now. A big one.
Further listening: Rising Appalachia, Ollabelle, The Duhks, The Audreys, Luke Winslow-King
rocks.) My vote for best album of the year. Even though it's July. Get thy butt to a concert hall to see Rhiannon on the tour promoting this recording.
The entire CD is wonderful, with Giddens' clear soprano, and well worth the purchase (I bought it twice -- the CD and a phone download -- so it's available in different listening locations). And, despite many playings, "Julie" still takes my breath away.
Top reviews from other countries
In Gegensatz zu ihrem ersten Soloalbum, das noch von T Bone Burnett produziert wurde, übernahm hier David Bither von Nonesuch Records den Job des Produzenten.
Rhiannon Giddens selbst und Dirk Powell, der auch als Musiker (Piano, Guitars, Bass, Mandolin, Bells, Fiddle), maßgeblich an der Entstehung dieses Albums mitwirkte, fungierten bei diesem Projekt auch als Co-Producer.
Das entstandene Album beweist, dass diese Zusammenarbeit offenbar sehr erfolgreich war.
Auch dieses neue Soloalbum, das Frau Giddens uns hier beschert, wurde wieder mit viel Sachverstand und Gefühl produziert.
Das Ergebnis ist ein glasklarer Klang, der den Stimmen und Instrumenten ihren Platz auf der akustischen Bühne zuweist. Hörgenuss pur!
Diesmal präsentiert Frau Giddens uns ein Album mit zwölf Songs.
Neun davon hat sie selbst oder in Zusammenarbeit mit anderen Musikern des Projekts geschrieben.
Der Song „The Angels Laid Him Away“ stammt von Blues-Urgestein Mississippi John Hurt.
Der durch einen tragischen Motorradunfall im Jahre 1966 viel zu früh verstorbene Richard Fariña schuf den Song „Birmingham Sunday“.
Dessen Melodie entlieh er sich von dem schottischen Volkslied "I Once Loved A Lass".
Der Song „Birmingham Sunday“ wurde für dieses Album durch das Duo Giddens/Powell musikalisch leicht verändert, was ihm aber keinesfalls geschadet hat.
Der Titelsong „Freedom Highway“ schließlich wurde von Pops Staples geschrieben und damit endet auch dieses großartige Album.
Die Themen „Unterdrückung/Sklaverei und Widerstand/Befreiung“ ziehen sich wie ein roter Faden durch die Titel des Albums.
Themen, die bis zur Gegenwart leider immer noch aktuell in der amerikanischen Gesellschaft sind.
Im Gegensatz zu Ihrem ersten Soloalbum, auf dem Frau Giddens sich als Sängerin präsentierte, spielt sie auf diesem zweiten Album nun auch bei sieben Titeln (endlich) wieder ein Minstrel Banjo.
Die musikalisch-instrumentelle Vielfalt dieses zweiten Albums ist erfrischend.
Neben funky-spritzigen Bläsern (Trompete, Trombone, Tenor Saxophon) gibt es Piano, Hammond B3 und Wurlitzer zu hören.
Drums, Percussions, Bones, elektrischer und akustischer Bass sowie Rubboard und Handclaps sorgen für den Rhythmus.
Elektrische und akustische Gitarren, Mandoline, Fiddle, Cello und das schon erwähnte Minstrel Banjo tun ein übriges.
Auch Stimmen in vielen Ausprägungen, von Solo über Chor bis zu Rap und HipHop gibt es zu hören.
Dies ist wieder ein wunderbares Album, das Frau Giddens uns hier beschert.
Etwas für Leute, die abseits vom Mainstream, gute Musik zu schätzen wissen.
Ed oggi siamo di nuovo qui ad ammirare la sua nuova fatica "freedom highway".
Ammirare mi sembra un aggettivo molto idoneo. Perchè la Giddens ci propone un album che a mio avviso marchierà in modo deciso questo 2017 appena iniziato. Blues, folk, country, soul, spirituals, questi gli argomenti trattati dalla Giddens. Che nella sua carriera solista è sempre più legata alle proprie radici afro. Se con i Chocolate era L'America rurale, bianca e nera, l'oggetto della ricerca, ora la Giddens si sofferma sulle sue radici. Ora ci dice che lei è un afro americana. E il suffisso afro è dominante. Lo dice sia con la musica che con le parole. Entrambe stupende.
Dodici i brani proposti. Nove autografi, tre cover. E che cover. "The angels laid him away" è un blues di Mississippi John Hurt proposta per solo voce e chitarra e che mette la pelle d'oca. Qui la Giddens tocca davvero corde nascoste della nostra anima. "Birmingham sunday" è un brano di Richard Farina che i più conoscono per la versione fatta da Joan Baez che la Giddens riprende con una intensità commovente; il folk originario si tinge di nuovi umori classicamente black. "Freedom highway" è stato uno degli inni politici più intensi delle Staple Singers. Il brano fù infatti composto per la marcia per i diritti civili fatta in Alabama nel 1965. Che la Giddens abbia voluto intitolare il suo album in questo modo indica chiaramente il valore politico della sua scelta. Ma del resto in questa America 2017 sotto la guida Trump ci stiamo abituando a prese di posizione politche da parte di molti artisti...
Ma torniamo alla musica. Parliamo di capolavori. "Julie", dialogo tra schiava e padrona condotto sulle corde di un banjo e un violino sembra il resoconto musicale di un romanzo di Toni Morrison. "We could fly" è uno spiritual senza tempo. Incantevole e basta. I vecchi compagni dei Chocolate la accompagnano nell'intensa "Come love come" e ci si accorge di come tra loro il feeling sia rimasto immutato.
"Baby boy" si poggia ancora su banjo e violino e sulla voce di Lelenja Harrington in un brano che trasuda dolore e vita ad ogni nota. "The love we almost had" allegerisce la tensione con un climax che pesca a piene mani dalla tradizione dixieland. Aria di modernità anche in "Better get it right the first time" dove il funky e il soul sfociano in un irresistibile rap (in poche parole in pochi minuti viene condensato una delle più affascinanti trasformazioni della musica nera degli anni 70-80). Magia, intensità, calore e sofferenza.
Questo è "freedom highway".
Basta cosi, ho scritto forse fin troppo e magari sono stato dispersivo. Ma volevo far arrivare l'idea che album come questi sono rari e preziosi. Che questa non è solo e semplicemente musica, Questa è arte, è vita. Spero di esserci riuscito.
デビュー作よりも随分と凄みの増した作品。
オリジナルナンバー中心に歌われる内容はやはり女性差別、暴力や公民権運動、奴隷制度・・・、アメリカに潜む闇を歴史を直視しながら紐解くワーキングソングでありアフリカン・アメリカン音楽。
ディキシーランドジャズ、ブルースやカントリー、ヒップホップの色に、バンジョーやフィドル、アップライトベース、ホーンを交えながら、明らかに真の強いRhannon Giddensの語りが乗せられてゆく。
少し押し出しが強い、というかレーベル特有の灰汁とかあざとさなんかも感じさせるスタイルが少し気になるが、でも現在のアメリカーナシーンにおいて希有な才能なのは間違いない。
オリジナル以外はMississippi John Hurt、Staple Singers等のカバー含む全12曲、Dirk Powellプロデュース。