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Wild Ones *
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Album: Wild Ones *
# Song Title   Time
1)    Wild Ones
2)    Come and Get It
3)    Girl of the Summer
4)    Magic
5)    That Was Us
6)    Lipstick
7)    What Ya Got On Tonight
8)    Heart's Desire
9)    Complicated
10)    I'm to Blame
11)    That's Alright with Me
12)    Running for You
13)    Comeback Kid
 
Product Details
Performer Notes
  • Personnel: Kip Moore (background vocals); Chris DeStefano (guitar, mandolin, piano, drums, programming, background vocals); Ilya Toshinskiy, Tom Bukovac, Rob McNelley (guitar); Scotty Sanders (lap steel guitar); Jeff Hyde (banjo); Dave Cohen , Tim Lauer (keyboards); Matthew Bubel (drums); Justin Weaver (programming); Brett James (background vocals).
  • Audio Mixer: Nick Brophy.
  • Recording information: Blackbird Studios; Southern Ground Studios; Sub-Level 03 Studios, Nashville, TN; The Barn Studio; The Laundry Room, Franklin, TN; The Tracking Room, Nashville, TN.
  • Photographer: Kristin Barlowe.
  • Kip Moore scored three big bro country hits in the two years surrounding 2012 -- "Somethin' 'Bout a Truck" was the 2011 breakthrough, followed by "Beer Money" in 2012 and "Hey Pretty Girl" in 2013 -- but he struggled on the journey to his second album, delivering two singles that, in his words, "stiffed," leading him to scrap an entire LP and write a new record, presumably one that's more commercial. Wild Ones, delivered three years after Up All Night, is that official second record and, as the neon-speckled album cover indicates, it's an album indebted to the '80s and not the hybrid of Hall & Oates and Paul Young suggested by the art, either. Moore plays up his middle-America bona fides, eager to conjure some of the spirit of fellow Springsteen fan Eric Church, but where Church prefers beefy guitars, Moore favors open-road anthems, songs that feel masculine but retain a vulnerable core. Such an emphasis on ballads and deliberate midtempo rockers gives Wild Ones a soft, even hazy touch when compared to the glossy snap of Up All Night, a shift that neatly punctures whatever lingering bro country affections remain in Moore's music. Instead of living for tomorrow's parties, he's rhapsodizing about good times once had in a style that funnels prime Bon Jovi through John Mellencamp. If Kip's songs aren't as hook-heavy or as sticky as his idols, it is nevertheless admirable that he's completely revamped his sound so he doesn't feel like anybody else in contemporary country -- not his bro country peers, not Church, not a red dirt refugee or macho rocker. He's effectively evoked the feel and aesthetic of mid-'80s heartland rock, and if that doesn't necessarily make him a wild one, it does make him a rebel of sorts. ~ Stephen Thomas Erlewine
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