American Saturday Night Brad Paisley

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  • 1American Saturday Night04:34
  • 2Everybody's Here03:32
  • 3Welcome to the Future05:51
  • 4Then05:22
  • 5Water04:22
  • 6She's Her Own Woman04:30
  • 7Welcome to the Future01:20
  • 8Anything Like Me04:14
  • 9You Do the Math04:37
  • 10No04:21
  • 11Catch All the Fish04:09
  • 12Oh Yeah, You're Gone05:36
  • 13The Pants04:36
  • 14I Hope That's Me03:41
  • 15Back to the Future01:30
  • Total Runtime01:02:15

Info zu American Saturday Night

„An American Saturday Night is not an unusual topic for a country song, but Brad Paisley's celebration is. Paisley sees a typical weekend night as a cultural collision of French kisses, Italian Ices, Canadian bacon, and margaritas, a place where Mexican and Dutch beers chill side by side in a bucket of ice. If he leans too heavily on labels, referring to those beers by brand name, it's merely a reflection of Paisley's uncanny knack for capturing the casual contemporary details of American life at the tail-end of the 2000s. It's not just the pile up of iPhones and international video chats on 'Welcome to the Future,' the first country anthem of the Obama era, it's how he'll pick up prescription for his girl and flips macho stereotypes on their head on 'The Pants.' He's a thoroughly modern man and that attitude helps invigorate his traditional country, a sensibility that's welcome on American Saturday Night, which veers toward the mellow despite its rollicking title track or the breakneck 'Catch all the Fish' and the odd burst incongruous gurgling synth. On the whole, American Saturday Night is one of his dreamier albums, filled with swaying slow dances, sweet love tunes, and the occasional brokenhearted blues, all delivered with a worn-in ease. Paisley prevents things from getting too relaxed by juxtaposing his every-guy vocals with spitfire guitar, something that gooses even the sleepiest tempos, just like how he spikes his party tunes with sly humor. He never lets things get too serious or too maudlin, he cracks jokes at himself and his friends, he lets everybody into his Saturday night party, because he knows that what makes an American party -- and what makes America -- is how all the best things wash up on the U.S. shores.“ (Stephen Thomas Erlewine, AMG)

'This is a terrific and subtly clever album, a(nother) spirited and worthwhile challenge by Paisley to the prejudices of both sides of country’s enduring schism.' (BBC Music)

'Here's an album where the marriage ballads are so meaty and convincing that the two exceptionally well-turned breakup songs seem like formal exercises, where a comedy number about fishing and beer would sound just dandy if there weren't so many subtler laughs on the agenda.' (MSN Consumer Guide)

Brad Paisley, vocals, background vocals, lead guitar, acoustic guitar, mandolin
Robert Arthur, acoustic guitar (on tracks 9, 13)
Jim 'Moose' Brown, piano, wurlitzer, B-3 organ
Neal Cappellino, piano (on track 1)
Randel Currie, steel guitar
Eric Darken, percussion
Kevin 'Swine' Grantt, bass, upright bass
Wes Hightower, background vocals
Gary Hooker, guitars (on tracks 3, 10, 11)
Mike Johnson, Dobro (on track 8)
Kenny Lewis, bass
Kendal Marcy, piano, banjo
Gordon Mote, keyboards, piano
Huck Paisley, guest vocal appearance (on track 8)
Frank Rogers, rhythm guitar, acoustic guitar (on track 1)
Ben Sesar, drums
Bryan Sutton, mandolin (on track 8)
Justin Williamson, fiddle
Brian David Willis, drums (on track 9)

Recorded December, 2008 - March, 2009 at The Castle - Franklin, Tennessee
Produced by Frank Rogers

Brad Paisley
Contemporary country singer/songwriter Brad Paisley was born October 28, 1972, in Glen Dale, West Virginia. He started playing guitar at the age of eight and Brad delivered his first public performance at church two years later.

With his guitar teacher Clarence "Hank" Goddard the teenaged Paisley formed his first band, the C-Notes, and at age 12 began writing his own material. After performing in front of the local Rotary Club, he was invited to appear on Wheeling station WWVA's famed Saturday night broadcast Jamboree USA . Paisley 's debut was so well received that he was invited to join the program full-time, and in the years to follow he opened for the likes of the Judds, Roy Clark, and Little Jimmy Dickens.

Signing to Arista, he issued his debut solo album, Who Needs Pictures, in 1999. The record produced two chart-topping singles in "He Didn't Have to Be," an ode to loving stepfathers, and "We Danced" and also earned generally positive reviews for its diversity of country styles. In the meantime, Paisley recorded a duet with Chely Wright, "Hard to Be a Husband, Hard to Be a Wife," for the Backstage at the Grand Ole Opry compilation; the two later collaborated on several songs for Wright's Never Love You Enough album.

The sequel to Paisley's debut, Part II, was released in 2001 and promptly returned him to the Top Five with "Two People Fell in Love." "I'm Gonna Miss Her (The Fishin' Song)" gave Paisley his third chart-topper, and "Wrapped Around" fell one spot short of becoming his fourth. "I Wish You'd Stay" became the fourth Top Ten hit from the record in early 2003. At the beginning of August 2005, Paisley put together a short "director's commentary" preview of his next album for his fan base to download. The full album, Time Well Wasted, appeared two weeks later and narrowly missed the top of the album charts, though it did hit number one on the country charts.

During his career Paisley’s four Arista Nashville albums have all been certified Platinum or Double Platinum, with total sales well in excess of six million copies, while his two most recent discs—Mud on the Tires and Time Well Wasted—debuted at No. 1 on Billboard’s Top Country Albums chart. Time Well Wasted also ended its first week at No. 2 on the pop sales chart with 192,000 copies sold, while Mud on the Tires likewise launched in the pop Top 10.

From the computer-animated cartoons he creates and presents during his shows to the amusing way he leads his crack band through their breakneck instrumentals, Paisley broadens the idea of how country music can be presented and how music can hold an audience’s attention in a multi-media age.

“When I sit down with a guitar to write a song, or when going into a recording studio, the focus is really on one thing: ‘How will this song work on stage night after night?’ I think about that every time I write something and every time I record a song,” Paisley says.

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