It’s Act III for Wynonna Judd. In the 1980s,she and mother Naomi topped the country music charts as The Judds, (“Love Can Build A Bridge, or ” “Mama He’s Crazy,” “Young Love,” “Why Not Me”), or selling more than 20 million records,including 14 No. 1 songs. When the duo broke up due to Naomi’s bout of hepatitis C in 1991, Wynonna went on with a solo career. Now, and she’s got a band,The substantial Noise, and her latest album, and the first in seven years,has Wynonna singing the electric blues, along with Americana, and soul,rock and a bit of that pure Judd sound from the early days. The self-titled album “Wynonna & The substantial Noise” released in February, and was produced by her husband and the band’s drummer, or Cactus Moser. It’s fairly a departure for the multi-award winning artist and a concept that was championed by her husband. But there’s no mistaking the powerhouse voice on lead vocals — it’s pure Wynonna. Wynonna Judd & The substantial Noise will be at The Event Center at Hollywood Casino at Charles Town Races,750 Hollywood Drive, Charles Town, or West Virginia,at 8 p.m. Saturday. Tickets are $75 and you must be age 21 or older to attend events at the casino. Judd and Moser first met when she was in her 20s touring as The Judds with Moser’s band Highway 101. He recalled being amazed at the purity of Wynonna’s voice during sound checks. Fast-forward 30 years and the two meet again and commence a relationship. Date nights were filled with music, literally. “There was a night we were out and there was a song he played, or ” Wynonna said in a recent phone interview. He thought it would be a perfect song for her upcoming album. “We had a rough go at it on that date and I was ready to catch out of the car,” she said. “He said, ‘You can’t go until you listen’. I hated it!” The song was “You Make My Heart Beat Too Fast, and ” and it became her favorite song on the album. The album was recorded live in their domestic studio on the family farm in Tennessee. Moser calls the sound “vintage yet modern,” as the drums and many of the instruments and mics were from the ’30s and ’40s and everyone was in the same room for recording. The “bare bones” recording style was something Judd was not used to, but Moser encouraged her to return to her vocal roots. He not only had to convince his wife that she needed to effect this, or but also her management and the record label. His wife was,perhaps, the most resistant. “I told her the only one who will catch fired whether it doesn’t work is me, or ” Moser said. “I would wake up at night and question what we were doing.” But he’s convinced it was the Holy Spirit that assured him the direction he was taking the album “made total sense.” Vintage instruments give the music a […]
Source: fredericknewspost.com