Album Info

Album Veröffentlichung:


Label: Warner Music Group

Genre: Country

Subgenre: Counrty Pop

Das Album enthält Albumcover Booklet (PDF)

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  • 1Jump Right In03:02
  • 2Uncaged03:30
  • 3Goodbye In Her Eyes05:25
  • 4The Wind02:57
  • 5Island Song03:43
  • 6Sweet Annie04:40
  • 7Natural Disaster03:03
  • 8Overnight04:44
  • 9Lance's Song04:35
  • 10Day That I Die04:54
  • 11Last But Not Least03:43
  • Total Runtime44:16

Info zu Uncaged

Nur knapp zwei Jahre nach ihrem letzten Output meldet sich die Zac Brown Band wieder mit einem Longplayer zurück. Und erneut ist beim Anblick des gewöhnungsbedürftigen Kunstwerks auf dem Cover nicht sofort zu erkennen, dass die Band im Country ihre Wurzeln hat. Aber lächelnde Künstler mit Perlweiss-Lächeln gibt es im Geschäft genug und die Gruppe aus Georgia ist bekanntermaßen eben etwas anders. Und das ist gut so.

Statt strahlender Hochglanzfotos gibt es auch auf der Rückseite der CD die mittlerweile sieben festen Bandmitglieder im Look der Mitstreiter aus dem Sezessionskrieg - trotzdem hat sich Mastermind Zac Brown auch für diese Fotos nicht von seiner geliebten Wollmütze getrennt. Und auch im Innenteil, wo die Herren an einem Holzstall posieren, ist der Truppe maximal ein gequältes Lächeln zu entlocken gewesen. Und das, wo sie doch die Aufsteigerband der letzten Jahre sind?! 4,5 Millionen verkaufte Exemplare der beiden vorherigen Studioplatten sprechen eine deutliche Sprache.

Der Auftakt zum dritten Major-Werk führt direkt in bekannte Gefilde. 'Jump Right In' ist ein fröhlicher Einsteig, bei dem die Band durch ihren lockeren Reaggae-Sound den Spirit eines Karibik-Urlaubs vermittelt. Quasi ein Ferien-Nachfolger des früheren Hits 'Toes'. Weiteres Insel-Feeling vermittelt auf der erneut von Keith Stegall produzierten Platte der 'Island Song'.

Der Titeltrack kommt in bester Tradition eines guten, alten Allman Brothers-Stücks daher. Viele Gitarren sorgen bei 'Uncaged' für den Groove; eine fette Hammond Orgel und ein kraftvoll gespieltes Schlagzeug stellen hier mehr die Leistungsfähigkeit der Band als den Gesang in den Vordergrund - auch weil der Refrain etwas sperrig ist. Ein Song, der wohl nie eine Single werden dürfte - mit dem die Band aus Georgia jedoch ihren Live-Auftritten abräumen wird.

Zu Live-Höhepunkten und gleichermaßen kommerziell erfolgreichen Songs mausert sich derzeit die schmissige Single 'The Wind'. Tanzbar, randvoll mit guter Laune, fidelen Solis, einem guten Schuss Bluegrass und mit coolen Refrain ausgestattet - ein garantierter Hit. Dass die Zac Brown Band außerhalb von Fotoshootings übrigens viel Humor versteht, zeigt der dazugehörige Clip. Für den engagierte die Gruppe '“King of the Hill'-Erfinder Mike Judge. Herausgekommen ist ein herrlich alberner Spaß, den man gesehen sollte.

Ruhiger lässt es die Kapelle aus den Südstaaten bei 'Sweet Annie' oder 'Goodbye In Her Tears' angehen - und beweist dabei wirklich gute Gesangsharmonien. Noch packender ist 'Lance's Song' gelungen. Ein musikalischer Nachruf auf Lance Tilton, den bei einem Autounfall verstorbenen Schlagzeuger aus Atlanta, der zum Freundeskreis der Zac Brown Band gehörte. Der Song kommt ganz behutsam nur mit Gitarre, Fiddle, Dobro und Gesang daher - der beschauliche Höhepunkt der CD.

Einen Flirt mit R&B samt Modern Jazz-Einflüssen wagt die Gruppe mit 'Overnight' - nicht übel, doch man muss sich erst daran gewöhnen. Eher ein Song für ein hippes Lokal als für eine Country Fair. Dagegen findet das aus einer selbstbeobachtenden Perspektive verfasste 'Day That I Die' schnell ins Herz. Ein schönes Lied über das Leben des eigenen Traumes, bei dem auch Amos Lee mitsingen darf.

Fazit: Zac Brown hat das Album als 'Dein elementares Country-Southern Rock-Bluegrass-Reaggae-Album' angekündigt und sein Wort gehalten! (Christoph Volkmer,

*Nur Track 4 wurde in 44.1kHz, 24 Bit aufgenommen. Das gesamte Album wurde in 96kHz, 24 Bit gemixt und gemastert.

About the album "Uncaged":
Zac Brown Band may have nine hit singles, two platinum-selling records and countless dedicated fans, but to hear its members talk they're just getting warmed up. That's right—after numerous nights in front of packed arenas and amphitheaters, things are just beginning to come together for this accomplished band of brothers, led by one of the most charismatic individuals ever to don a beanie and dominate radio.

The band's latest album 'Uncaged' (Atlantic/Southern Ground) which debuted at #1 on Billboard 200 is proof positive. The result of a highly collaborative process, it's the sound of a group of versatile musicians gelling into a formidable unit and realizing they're capable of anything their fearless leader happens to dream up, from traditional country ("The Wind") to Caribbean rhythms ("Jump Right In") and even slinky bedroom R&B ("Overnight"). Running roughshod over genre boundaries, and bringing its audience along for the ride, its title is absolutely accurate—this is truly the sound of a band 'Uncaged'.

"I think that we've grown so much over the past few years as individual musicians and as a cohesive unit," observes drummer Chris Fryar. "As a band we have really grown together. And we play really, really well together. That increasing level of maturity really shows up on 'Uncaged.'"

"We're always trying to push the barrier of our musicianship and I'm proud to say that there is a little bit of something for everyone," adds Brown. "It's your basic country-Southern rock-bluegrass-reggae-jam record."

The addition of percussionist Daniel de los Reyes has helped the band move the groove along. His new bandmates describe de los Reyes—known for performing and recording with Stevie Nicks, Sting, Peter Frampton and Earth, Wind & Fire, among others—as a consummate professional. "It was really great to have him along," says guitarist/keyboardist Coy Bowles. "Danny's not going to be playing timbales over a bluegrass song. So if he needs to play a shaker all the way through a song, that's what he'll do. He knows when to be aggressive and when to lay back. I think the album has a real cool dynamic because of his sensitivity to all that."

Brown has built a virtual southern Brill Building of songwriting talent, while doing his best to reincarnate the '70s heyday of Capricorn Records through his Southern Ground Artists label, home to The Wood Brothers, Levy Lowrey, Nic Cowan, Sonia Leigh, Blackberry Smoke and The Wheeler Boys. But that's only part of the story. His Southern Ground banner flies over everything from metalworking to leather goods. In addition to housing offices and rehearsal space, the former industrial warehouse in Atlanta that serves as the company's headquarters also features a full kitchen for "Chef Rusty" Hamlin and his crew, the better to power those much-talked-about "eat and greets" that Brown, a former restaurant owner, hosts for lucky fans.

The most farsighted plans reach beyond the warehouse, to a plot of land south of Atlanta where plans proceed for a nonprofit camp aimed to help kids overcoming behavioral and learning disabilities and disadvantaged backgrounds. Simultaneously, Southern Ground has secured a studio in Nashville for future recording needs. At this point it's safe to say that the Zac Brown Band is more than an act—it's quickly becoming a way of life.

So given all of the creative energy around it, new material has never been a problem for Zac Brown Band. The band was originally built on the songwriting partnership of Zac Brown and Wyatt Durette. Since then the brain trust has expanded to encompass the artists on the label as well as members of the band. No matter how heavily the band is touring, something is always percolating.

So while there are ten credited songwriters on the 11 tracks composing 'Uncaged,' all are individuals within the band's social circle—no "guns for hire" here.

Unlike the band's prior outing, 'You Get What You Give' (Atlantic/Southern Ground), which grew out of songs that had already been in the band's live set before it entered the studio, 'Uncaged' was put together from brand new material. After booking some downtime, they all retreated to the Appalachian foothills near Dahlonega. "It had a very cleansing vibe to it," Fryar recalls. "You get really bad cell service there, which was great. There weren't any distractions. We were able to cut off the outside world and dig into what we wanted to say on this record."

They carried with them some 40 songs, none of which had been fleshed out or arranged for the band, and some of which weren't completely done. The goal of the retreat was to pull out and arrange the right 11 songs.

"It was an intensive workshop," notes bassist John Driskell Hopkins. "We hit the record button any time we had an idea worth keeping. Then we'd change things as we went. And we did that in a great place to build a campfire, cook some food, hang out and have some fellowship too. I'm amazed that we got so much done in just four or five days. "

Then, with producer Keith Stegall (Alan Jackson, George Jones) in tow, the band settled in at Echo Mountain Recording Studio in Asheville, N.C. to lay down basic tracks, then took a "working vacation" to Key West, to record vocals at Jimmy Buffett's Shrimpboat Sound. Additional overdubs took place in Atlanta and Nashville.

The result is the most expansive album Zac Brown Band has ever delivered, where the group's trademark vocal harmonies meet jaw-dropping musicianship in a musical world where genre boundaries are increasingly slippery.

But if you think that's going to mean reduced radio exposure and a shrinking audience, you don't know this band very well—or its audience. "A lot of other artists may choose to sit back and do the same record they did last time, because they don't want to lose those fans," Fryar observes. " But from our perspective, we think those fans deserve the best music we can make. If it's different from the past record that's OK, because it's the best we can do. And they deserve the best. They're paying our bills and feeding our families."

Asked whether the band still feels at home on country radio, Hopkins notes that country radio has grown and evolved just as the band has. "It's southern radio to me, and I don't think we're doing anything southern people wouldn't like."

"I love country radio because of the dedication they have given us," De Martini affirms. "When I talk to program directors they tell me they're happy to play it, but they really have no choice because the fans are crazy about calling in and requesting our music all the time."

The album's two featured guests, Amos Lee and Trombone Shorty, aren't Music Row signifiers in the same way Alan Jackson was on 'You Get What You Give,' but Brown says this doesn't mean the band is leaving country music behind. Far from it—lead single "The Wind" is "the most country thing we've ever done," he notes. There is no "master plan," he adds. "We were just getting our buddies to sing with us."

In many ways Zac Brown Band is an unlikely success story. Bands who cover so much territory tend to become critics' darlings, but not platinum sellers.

"The two things I think that make this band different from anybody else, and the reason why we're here today, is that everybody has an insane work ethic," Bowles observes. "Nobody complains. Everybody plays their asses off, everybody gets on the plane or bus even if they're not feeling well, and tries to do everything to the best of their ability, always. And Zac has this ability to make you believe what he's singing no matter what. So if we do an R&B tune or a reggae tune, he's totally believable. You believe he's lived 'Highway 20 Ride,' for example. His conviction comes through all those songs."

"One cool thing about Zac is that he loves to include everybody," De Martini adds. "He doesn't really have to have the Zac Brown Band. I think he would be successful just as Zac Brown. But the band adds a lot and takes it to another level. It's one big family with him."

Booklet für Uncaged

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