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24 Karat Heartache
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24 Karat Heartache in Franklin, TN
Current price: $12.99
Barnes and Noble
24 Karat Heartache in Franklin, TN
Current price: $12.99
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Size: OS
On his second album in 1997 and his first for
the American Harvest Recording Society
after leaving
Columbia
,
Vern Gosdin
enlisted
Ron Oates
as co-producer. This is the most melancholy and dark record he's ever issued. It's also the most beautiful and tender. In fact, given how many albums he's issued, this is one of the true classics in his catalog. Having written everything here,
Gosdin
claims they were written for one woman who left him; he also says quite honestly that when she left these songs became hard to sing, and he did the best he could. Damn!
's protagonists take full responsibility for their folly in losing the women they love. This is plain on
"The Number,"
where two men meet in a bar -- one claims to know the best lover in town and the protagonist gets his number from the boaster, only to find it's his own and blame himself for her going bad. And this is just the beginning. The title cut, in classic
ballad
style, is about a woman whose wedding ring becomes a
"24 Karat Heartache"
24 hours a day.
"Three or Four Times a Day"
is the silky
honky tonk
trademark. Without the slickness of his
productions, the true depth of
's voice comes bursting forth from the mix in pure
country-soul
grandeur.
"All the Way Through"
is a midtempo love song with a dynamite chorus, accented rhythm section, and backing vocal by
Dennis Wilson
. The hard-driving
"Wettest Dry County"
is badass
outlaw country
with kicking guitars and pedal steel.
"What I Threw Away"
is the most devastating, self-incriminating confession
's ever written. On the last two tracks,
"I'm Where a Memory (Can Die for a Night)"
and
"Where Do We Take It from Here,"
shows listeners both sides of the coin of escapism and the wish to transcend the present state of separation and resolve it all one way or another. But in the grain of
's voice, it feels like this is a futile exercise, whispered by a ghost. There are few records as consistently fine in
country
music. There are few singers who could pull off a set like this without sounding forced or hackneyed, but then,
is the
Smokey Robinson
of
music, and what else would you expect? ~ Thom Jurek
the American Harvest Recording Society
after leaving
Columbia
,
Vern Gosdin
enlisted
Ron Oates
as co-producer. This is the most melancholy and dark record he's ever issued. It's also the most beautiful and tender. In fact, given how many albums he's issued, this is one of the true classics in his catalog. Having written everything here,
Gosdin
claims they were written for one woman who left him; he also says quite honestly that when she left these songs became hard to sing, and he did the best he could. Damn!
's protagonists take full responsibility for their folly in losing the women they love. This is plain on
"The Number,"
where two men meet in a bar -- one claims to know the best lover in town and the protagonist gets his number from the boaster, only to find it's his own and blame himself for her going bad. And this is just the beginning. The title cut, in classic
ballad
style, is about a woman whose wedding ring becomes a
"24 Karat Heartache"
24 hours a day.
"Three or Four Times a Day"
is the silky
honky tonk
trademark. Without the slickness of his
productions, the true depth of
's voice comes bursting forth from the mix in pure
country-soul
grandeur.
"All the Way Through"
is a midtempo love song with a dynamite chorus, accented rhythm section, and backing vocal by
Dennis Wilson
. The hard-driving
"Wettest Dry County"
is badass
outlaw country
with kicking guitars and pedal steel.
"What I Threw Away"
is the most devastating, self-incriminating confession
's ever written. On the last two tracks,
"I'm Where a Memory (Can Die for a Night)"
and
"Where Do We Take It from Here,"
shows listeners both sides of the coin of escapism and the wish to transcend the present state of separation and resolve it all one way or another. But in the grain of
's voice, it feels like this is a futile exercise, whispered by a ghost. There are few records as consistently fine in
country
music. There are few singers who could pull off a set like this without sounding forced or hackneyed, but then,
is the
Smokey Robinson
of
music, and what else would you expect? ~ Thom Jurek
On his second album in 1997 and his first for
the American Harvest Recording Society
after leaving
Columbia
,
Vern Gosdin
enlisted
Ron Oates
as co-producer. This is the most melancholy and dark record he's ever issued. It's also the most beautiful and tender. In fact, given how many albums he's issued, this is one of the true classics in his catalog. Having written everything here,
Gosdin
claims they were written for one woman who left him; he also says quite honestly that when she left these songs became hard to sing, and he did the best he could. Damn!
's protagonists take full responsibility for their folly in losing the women they love. This is plain on
"The Number,"
where two men meet in a bar -- one claims to know the best lover in town and the protagonist gets his number from the boaster, only to find it's his own and blame himself for her going bad. And this is just the beginning. The title cut, in classic
ballad
style, is about a woman whose wedding ring becomes a
"24 Karat Heartache"
24 hours a day.
"Three or Four Times a Day"
is the silky
honky tonk
trademark. Without the slickness of his
productions, the true depth of
's voice comes bursting forth from the mix in pure
country-soul
grandeur.
"All the Way Through"
is a midtempo love song with a dynamite chorus, accented rhythm section, and backing vocal by
Dennis Wilson
. The hard-driving
"Wettest Dry County"
is badass
outlaw country
with kicking guitars and pedal steel.
"What I Threw Away"
is the most devastating, self-incriminating confession
's ever written. On the last two tracks,
"I'm Where a Memory (Can Die for a Night)"
and
"Where Do We Take It from Here,"
shows listeners both sides of the coin of escapism and the wish to transcend the present state of separation and resolve it all one way or another. But in the grain of
's voice, it feels like this is a futile exercise, whispered by a ghost. There are few records as consistently fine in
country
music. There are few singers who could pull off a set like this without sounding forced or hackneyed, but then,
is the
Smokey Robinson
of
music, and what else would you expect? ~ Thom Jurek
the American Harvest Recording Society
after leaving
Columbia
,
Vern Gosdin
enlisted
Ron Oates
as co-producer. This is the most melancholy and dark record he's ever issued. It's also the most beautiful and tender. In fact, given how many albums he's issued, this is one of the true classics in his catalog. Having written everything here,
Gosdin
claims they were written for one woman who left him; he also says quite honestly that when she left these songs became hard to sing, and he did the best he could. Damn!
's protagonists take full responsibility for their folly in losing the women they love. This is plain on
"The Number,"
where two men meet in a bar -- one claims to know the best lover in town and the protagonist gets his number from the boaster, only to find it's his own and blame himself for her going bad. And this is just the beginning. The title cut, in classic
ballad
style, is about a woman whose wedding ring becomes a
"24 Karat Heartache"
24 hours a day.
"Three or Four Times a Day"
is the silky
honky tonk
trademark. Without the slickness of his
productions, the true depth of
's voice comes bursting forth from the mix in pure
country-soul
grandeur.
"All the Way Through"
is a midtempo love song with a dynamite chorus, accented rhythm section, and backing vocal by
Dennis Wilson
. The hard-driving
"Wettest Dry County"
is badass
outlaw country
with kicking guitars and pedal steel.
"What I Threw Away"
is the most devastating, self-incriminating confession
's ever written. On the last two tracks,
"I'm Where a Memory (Can Die for a Night)"
and
"Where Do We Take It from Here,"
shows listeners both sides of the coin of escapism and the wish to transcend the present state of separation and resolve it all one way or another. But in the grain of
's voice, it feels like this is a futile exercise, whispered by a ghost. There are few records as consistently fine in
country
music. There are few singers who could pull off a set like this without sounding forced or hackneyed, but then,
is the
Smokey Robinson
of
music, and what else would you expect? ~ Thom Jurek
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1800 Galleria Blvd #1310, Franklin, TN 37067, United States
Find Barnes and Noble at CoolSprings Galleria in Franklin, TN
Visit Barnes and Noble at CoolSprings Galleria in Franklin, TN