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Dayna Kurtz - Here Vol. 2 (With Robert Mache) (2018)

Dayna Kurtz - Here Vol. 2 (With Robert Mache) (2018)

BAND/ARTIST: Dayna Kurtz

  • Title: Here Vol. 2 (With Robert Mache)
  • Year Of Release: 2018
  • Label: Kismet Records
  • Genre: Blues, Folk, Soul, Jazz
  • Quality: FLAC (tracks) | MP3 320 kbps
  • Total Time: 42:27
  • Total Size: 237 MB | 100 MB
  • WebSite:
Tracklist:
1. Another Black Feather (Live) (4:48)
2. Somebody Leave A Light On (Live) (4:55)
3. You're Not What I Need (But You're All That I Want) (Live) (5:52)
4. Monroe (Live) (4:21)
5. It's How You Hold Me (Live) (4:49)
6. Reconsider Me (Live) (5:50)
7. Venezuela (Live) (6:05)
8. Talking At The Same Time (Live) (5:44)

Personnel:
Dayna Kurtz – guitar, vocals
Robert Mache – guitar, mandolin, background vocals

Last year singer-songwriter Dayna Kurtz released the first part of a new series of live albums that were recorded during her extensive tour of the Netherlands 2 years ago. After all, the Netherlands is the country where Dayna's career first took shape and in the liner notes the Netherlands is extensively thanked for this. On this second part Here Vol 2 she again presents three intense quarters of beautiful songs divided over 8 drawn-out intense live tracks. The songs come from various periods of her career. Among other things she chose from her latest studio album "Rise And Fall" the compelling and soulful tracks "It's How You Hold Me" and the most loving breakup song ever: "You're Not What I Need". From older albums she chose her "dream" song "Venezuela","Monroe", "Somebody Leave The Light On" and "Another Black Feather" and the covers Reconsider Me (Margret Lewis / Mira Smith) and Tom Waits and Kathleen Brennan's Talking At The Same Time. The recordings were recorded crystal clear by master engineer Randy Crafton and therefore come across as if she is singing next to you in the room, really every subtle note on guitar, mandolin of her regular guitarist Robert Maché (Continental Drifters) can be heard perfectly, just like Dayna's blood-curdling beautiful voiceThe recordings were recorded crystal clear by master engineer Randy Crafton and therefore come across as if she is singing next to you in the room, really every subtle note on guitar, mandolin of her regular guitarist Robert Maché (Continental Drifters) can be heard perfectly, just like Dayna's blood-curdling beautiful voiceThe recordings were recorded crystal clear by master engineer Randy Crafton and therefore come across as if she is singing next to you in the room, really every subtle note on guitar, mandolin of her regular guitarist Robert Maché (Continental Drifters) can be heard perfectly, just like Dayna's blood-curdling beautiful voice

With her New Jersey roots and a long history in New York City, Dayna now divides her time between her wooden cabin on a river in Vermont and her home on another river in New Orleans. Although she is a true American, her biggest successes in Europe lie in the theaters and rock clubs in European cities such as Barcelona and Amsterdam where she can be seen more often than on the stages in the US. She had a top 10 hit in the Netherlands with “Love Gets in the Way”. She has toured with Richard Thompson, Elvis Costello, Richie Havens, the Blind Boys of Alabama, Dr. John, Rufus Wainright, and Mavis Staples. She recorded a duet with Norah Jones and both Mrs. Jones and Bonnie Raitt have not hidden their admiration for her music in interviews.

As a songwriter she is absolutely indebted to the Nashville tradition of singing 'three chords and the truth', Tin Pan Alley, but also New Orleans of course. Dayna has often placed herself in the outlaw genre in interviews, more or less to indicate that her style and sincerity of not mincing mouth cannot really be categorized. She realizes that the term probably didn't do her any good for commercial success in the US. James Reed, a Boston Globe journalist once wrote about her, “There's no logical reason why Dayna Kurtz is not a full blown star. Her ingrained knowledge of so many (mostly) American musical forms has lead to a varied recording history that doesn't feel hackneyed or overly reverent to its sources. As a result, she's very nearly her own genre. ”

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  • whiskers
  •  wrote in 21:20
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