CD Lucky Man [Hal Ketchum] (CD 873266),
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Lucky Man [Hal Ketchum]


  • 1. (She's Something) You're Everything
    2. You Can't Go Back
    3. That's How Much You Mean to Me
    4. Loving You Makes Me a Better Man
    5. Don't Let Go
    6. Dreams of Martina
    7. She's Still in Dallas
    8. Two of the Lucky Ones (And Dolly Parton)
    9. Richest Man in Texas
    10. Livin' Life Lovin' You
    11. Keep Mom & Dad in Love (And Lisa Brokop)
    12. She Is
    Read More...
  • Additional Info
    Manufacturer Part Number (MPN): 78707

  • Credits
    Producer
    Engineer

    Personnel includes: Hal Ketchum, Dolly Parton, Lisa Brokop (vocals); Brent Mason, Chris Rodriguez, (acoustic & electric guitars); Biff Watson, Al Anderson, Larry Byrom (acoustic guitar); Kenny Vaughan, Steuart Smith, Jerry McPherson (electric guitar); Jerry Douglas (slide guitar, dobro); Paul Franklin (pedal steel guitar); Dan Dougmore (mandolin); Stuart Duncan (fiddle); Steve Conn (concertina); John Hobbs (piano, celeste, keyboards); Tony Harrell (piano, organ, keyboards); Willie Weeks, Michael Rhodes (bass); Paul Leim (drums, programming).
    Producers: Rodney Crowell, Paul Leim, Lisa Brokop.
    Engineers: Steve MarcAntonio, Roger Moutenot, Donivan Cowart.
    Recorded at Oceanway, The Sound Kitchen and The Tree House, Nashville, Tennessee.
    Personnel: Timothy L. Schmidt, Andrew Gold (vocals); Larry Byrom (acoustic guitar, gut-string guitar); Al Anderson, Biff Watson (acoustic guitar); Jerry McPherson, Brent Mason (electric guitar); Jerry Douglas (slide guitar); Danny Dougmore, Paul Franklin (steel guitar); Steve Conn (concertina); John Hobbs (piano, keyboards); Tony Harrell (piano); Paul Leim (drums); Heath Wright, Harry Stinson, Tim Chewning, Eddie K., John Cowan, Bekka Bramlett, Marcia Ramirez, Vince Santoro (background vocals).
    Liner Note Author: Danny Dougmore.
    Photographer: Seor McGuire.
    Don't be misled by the inner-booklet photo of an earnest-looking Hal Ketchum gazing into the distance next to an ornately inscribed quote where he declares himself "a sculptor of song." Despite this potentially embarrassing gaffe, Ketchum displays considerably more humility and good taste than many of his pop-country contemporaries. There's a fairly high soul quotient here that puts Ketchum more in line with the likes of Jim Lauderdale (or at least Lee Roy Parnell) than with any hat act.
    The aesthetic credibility of Ketchum's approach is further insured by the production and songwriting efforts of Rodney Crowell. Much of LUCKY MAN is occupied by emotive ballads that draw equally from pop, soul, and country. But when Ketchum latches onto a rocker, as on "Don't Let Go," he eschews the self-conscious boot-scooting approach of so many neo-Nashvillians in favor of an agreeably retro rock & roll feel. In the end, LUCKY MAN finds an agreeable middle ground between new traditionalism and the country mainstream.

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