Jason Aldean: My Kinda Party
My Kinda Party
CD
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
- Label: RCA, 2010
- Bestellnummer: 6784166
- Erscheinungstermin: 20.2.2015
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With My Kinda Party, the Academy of Country Music’s former Top New Male Vocalist further cements his uniqueness with a robust15-track project that builds on his personal past while covering new territory. The first single—the muscular title track—fit very quickly into the jacked-up portion of his concert set list, which already boasts “She’s Country,” “Crazy Town” and “Johnny Cash.” But there’s other stylistic landscape to explore, too—his first full-fledged duet, with big-voiced pop singer Kelly Clarkson; and an almost rap segment in “Dirt Road Anthem” that suggests Aldean has listened to a little Snoop Dogg in his time.
That might come as a shock to non-country observers who think the genre belongs in its own self-imposed hay-bale ‘hood, but Aldean gets around musically. He was the first country artist of any significance to incorporate Guns N’ Roses medleys into his live show—“You’re welcome” is his simple response—and his listening history includes such diverse talents as Aerosmith, the Oak Ridge Boys and even Tupac Shakur.
Like Aldean himself, all of those acts were founded on a distinct musical identity. They each incorporated their heroes’ influences into a sound that belonged to no one else. Aldean took his cues from them quite well.
“I grew up listenin’ to all kinds of music—rock and Southern rock and country and blues and rap stuff, too,” he says. “My cousin, who’s five months older than me, he went through his rap phase when we had 2Pac in the car all the time. Really, I’m a fan of all kinds of music.”
While critics will gravitate to the extremes on My Kinda Party, the essence of the album is simply the solidity of its material. By selling 3.5 million records in the first phase of his career, Aldean commanded the attention of Nashville’s songwriters as he put together music for the album. With volumes of Music Row’s best craftsmen and women writing for Aldean, he literally had the pick of the litter.
As a result, My Kinda Party is stocked with inviting melodies and intriguing storylines, many of them tugging on the small-town themes that have become the backbone of his persona. “Fly Over States,” “Church Pew” and “Tattoos On This Town” exemplify Aldean’s affection for the topic, though it’s often misunderstood.
While country has plenty of bumper-sticker anthems that celebrate small communities, Aldean is more than a simple cheerleader for rural values. He does indeed take on the role of heartland defender in “Fly Over States,” but other songs find him grappling with the heartbreak and limitations that accompany towns with three- and four-digit populations.
“I’m not like a pro-backwoods, flag-wavin’ kinda guy,” he says. “I mean, I grew up in the South, in the country, and I love that lifestyle. But I’m not one of those guys that insists that’s the only thing there is. Being from a small town, you can be a little misunderstood, and there are plenty of people tryin’ to get out of there because you’re put in a box a lot of times when you’re in a small town.”
Aldean knows that issue well. Born in Macon, Georgia, he was raised on the outskirts of town and devoted much of his youth to working and hanging out at his cousin’s 200-acre farm.
“I spent every weekend out there at his house riding four-wheelers and horses, bailin’ hay, going fishing and hunting—all that stuff,” Aldean reflects. “When I would go from my house to his house, it was a lot of farmland and dirt roads and huge potholes in the road.”
A high-school athlete, he made use of his environment by playing clubs, building his musical skills with an eye toward Nashville. Once he hit Music City in 1998, Aldean struggled rather famously, signing several recording contracts that eventually fell apart. He played countless label showcases and eventually drained his bank account.
As dramatic as it sounds, he was ready to pack it up and go back to Georgia when producer Michael Knox asked him to take one more crack at a showcase. Independent Broken Bow Records was interested, and Aldean—admittedly skeptical that a then-unproven company was going to make a difference in his life—took that shot.
Everything clicked at that show. Aldean got a deal that kept him in Nashville, and his life has never quite been the same. But his brush with permanent obscurity still fuels his creativity.
“I think about it every day,” he concedes. “When you read that I was this close to leaving, it sounds like something made up. But it was the truth. I had applied for jobs in Georgia, and I was trying to get hired down there. We were broke—just straight-up broke—and we were gonna move in with my mom so we could get on our feet and get straightened out…maybe get a club gig and try to build a local following.”
Instead, the Broken Bow deal allowed Aldean to stay in Nashville and build up a following on a national level. Establishing a mindset that he continues to carry, he tackled his opportunity on his own terms. He worked with his own producer, Michael Knox, and used his own band—guitarist Kurt Allison, bass player Tully Kennedy and drummer Rich Redmond—plus guitarist Adam Shoenfeld as his studio core.
Aldean’s ultra-Southern voicings give him an immediately identifiable sound. The band helps set him even further apart from other country stars.
“I don’t want to use who everybody else uses,” he insists. “And I don’t want my records to sound like everybody else’s records. The only way to do that is to cut it like we do. I cut the album with my band, I use an engineer that nobody else really uses in this town to cut major-label records, and Michael is starting to produce more things now, but when we first got started, it was me and that was about it.”
Even now, as Knox branches out to work with other well-known country artists—an opportunity that’s come directly from producing Aldean—Knox and Aldean have an understanding about protecting the sound they’ve achieved together.
“This is something that we’ve been working 10 years on. I’m not going to just hand it over and let anybody else’s stuff sound like mine. That’s what sets us apart.”
There’s no cockiness and no forcefulness in his stance. The name of the game is individuality, and Aldean is protecting it.
He also appreciates it in other artists. That same level of uniqueness is exactly what Aldean was looking for when he approached Clarkson as a duet partner on “Don’t You Wanna Stay.” “Kelly has such a distinct voice,” he observes. “She’s got the most soulful voice there is right now. As soon as she opened her mouth and started singing in the studio, it was like, ‘That is what this song is supposed to sound like!’”
The one-of-a-kind sound Clarkson brought to “Don’t You Wanna Stay” is representative of Aldean’s own artistry throughout My Kinda Party. There’s a cultural familiarity to the themes and the influences, but in practice, there’s not another act who sounds quite like Jason Aldean. He’s not part of some musical wave. He is his own movement. “That’s what it’s all about,” he shrugs, “knowing what it is that sets you apart from everybody else.” (brokenbowrecords. com)
That might come as a shock to non-country observers who think the genre belongs in its own self-imposed hay-bale ‘hood, but Aldean gets around musically. He was the first country artist of any significance to incorporate Guns N’ Roses medleys into his live show—“You’re welcome” is his simple response—and his listening history includes such diverse talents as Aerosmith, the Oak Ridge Boys and even Tupac Shakur.
Like Aldean himself, all of those acts were founded on a distinct musical identity. They each incorporated their heroes’ influences into a sound that belonged to no one else. Aldean took his cues from them quite well.
“I grew up listenin’ to all kinds of music—rock and Southern rock and country and blues and rap stuff, too,” he says. “My cousin, who’s five months older than me, he went through his rap phase when we had 2Pac in the car all the time. Really, I’m a fan of all kinds of music.”
While critics will gravitate to the extremes on My Kinda Party, the essence of the album is simply the solidity of its material. By selling 3.5 million records in the first phase of his career, Aldean commanded the attention of Nashville’s songwriters as he put together music for the album. With volumes of Music Row’s best craftsmen and women writing for Aldean, he literally had the pick of the litter.
As a result, My Kinda Party is stocked with inviting melodies and intriguing storylines, many of them tugging on the small-town themes that have become the backbone of his persona. “Fly Over States,” “Church Pew” and “Tattoos On This Town” exemplify Aldean’s affection for the topic, though it’s often misunderstood.
While country has plenty of bumper-sticker anthems that celebrate small communities, Aldean is more than a simple cheerleader for rural values. He does indeed take on the role of heartland defender in “Fly Over States,” but other songs find him grappling with the heartbreak and limitations that accompany towns with three- and four-digit populations.
“I’m not like a pro-backwoods, flag-wavin’ kinda guy,” he says. “I mean, I grew up in the South, in the country, and I love that lifestyle. But I’m not one of those guys that insists that’s the only thing there is. Being from a small town, you can be a little misunderstood, and there are plenty of people tryin’ to get out of there because you’re put in a box a lot of times when you’re in a small town.”
Aldean knows that issue well. Born in Macon, Georgia, he was raised on the outskirts of town and devoted much of his youth to working and hanging out at his cousin’s 200-acre farm.
“I spent every weekend out there at his house riding four-wheelers and horses, bailin’ hay, going fishing and hunting—all that stuff,” Aldean reflects. “When I would go from my house to his house, it was a lot of farmland and dirt roads and huge potholes in the road.”
A high-school athlete, he made use of his environment by playing clubs, building his musical skills with an eye toward Nashville. Once he hit Music City in 1998, Aldean struggled rather famously, signing several recording contracts that eventually fell apart. He played countless label showcases and eventually drained his bank account.
As dramatic as it sounds, he was ready to pack it up and go back to Georgia when producer Michael Knox asked him to take one more crack at a showcase. Independent Broken Bow Records was interested, and Aldean—admittedly skeptical that a then-unproven company was going to make a difference in his life—took that shot.
Everything clicked at that show. Aldean got a deal that kept him in Nashville, and his life has never quite been the same. But his brush with permanent obscurity still fuels his creativity.
“I think about it every day,” he concedes. “When you read that I was this close to leaving, it sounds like something made up. But it was the truth. I had applied for jobs in Georgia, and I was trying to get hired down there. We were broke—just straight-up broke—and we were gonna move in with my mom so we could get on our feet and get straightened out…maybe get a club gig and try to build a local following.”
Instead, the Broken Bow deal allowed Aldean to stay in Nashville and build up a following on a national level. Establishing a mindset that he continues to carry, he tackled his opportunity on his own terms. He worked with his own producer, Michael Knox, and used his own band—guitarist Kurt Allison, bass player Tully Kennedy and drummer Rich Redmond—plus guitarist Adam Shoenfeld as his studio core.
Aldean’s ultra-Southern voicings give him an immediately identifiable sound. The band helps set him even further apart from other country stars.
“I don’t want to use who everybody else uses,” he insists. “And I don’t want my records to sound like everybody else’s records. The only way to do that is to cut it like we do. I cut the album with my band, I use an engineer that nobody else really uses in this town to cut major-label records, and Michael is starting to produce more things now, but when we first got started, it was me and that was about it.”
Even now, as Knox branches out to work with other well-known country artists—an opportunity that’s come directly from producing Aldean—Knox and Aldean have an understanding about protecting the sound they’ve achieved together.
“This is something that we’ve been working 10 years on. I’m not going to just hand it over and let anybody else’s stuff sound like mine. That’s what sets us apart.”
There’s no cockiness and no forcefulness in his stance. The name of the game is individuality, and Aldean is protecting it.
He also appreciates it in other artists. That same level of uniqueness is exactly what Aldean was looking for when he approached Clarkson as a duet partner on “Don’t You Wanna Stay.” “Kelly has such a distinct voice,” he observes. “She’s got the most soulful voice there is right now. As soon as she opened her mouth and started singing in the studio, it was like, ‘That is what this song is supposed to sound like!’”
The one-of-a-kind sound Clarkson brought to “Don’t You Wanna Stay” is representative of Aldean’s own artistry throughout My Kinda Party. There’s a cultural familiarity to the themes and the influences, but in practice, there’s not another act who sounds quite like Jason Aldean. He’s not part of some musical wave. He is his own movement. “That’s what it’s all about,” he shrugs, “knowing what it is that sets you apart from everybody else.” (brokenbowrecords. com)
- Tracklisting
- Mitwirkende
Disk 1 von 1 (CD)
- 1 Tattoos On This Town
- 2 Dirt Road Anthem
- 3 Church Pew or Bar Stool
- 4 Just Passing Through
- 5 Fly over States
- 6 My Kinda Party
- 7 I Ain't Ready to Quit
- 8 It Ain't Easy
- 9 Country Boy's World
- 10 Heartache That Don't Stop Hurting
- 11 Texas Was You
- 12 Don't You Wanna Stay
- 13 See You When I See You
- 14 If She Could See Me Now
- 15 Days Like These
