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Hannah Aldridge is daughter of Muscle Shoals producer, musician and hit songwriter Walt Aldridge. He has supplied a bunch of country acts as in Earl Thomas Conley, Barbara Mandrell, Ricky Van Shelton, Ronnie Milsap, Conway Twitty, Reba McEntire and Travis Tritt plus the late Lou Reed with songs. Hannah on occasions sounds somewhere in-between Trisha Yearwood and Gretchen Peters. Such the roving, probing style possessed by her (and there is more, lots more).


Recorded in Nashville, Gold Rush follows her 2014 debut album, Razor Wire. On “Living On Lonely” she has Ryan Beaver assist her as the lyrics and mood become dark, this as she speaks of heartache and the feeling of abandonment and strung out again. Heavy and sad, the reflective lyrics that are peppered by restless electric lead guitar it cuts through to the bone in chilling fashion. The album is says Aldridge ‘About being self-destructive. This is the underlying tone. The album goes back to when I was younger, and after touching on that, to the now. In “Aftermath”, the very first line is I was born in a crossfire. It starts from day one. ” She is a terrific writer. I anticipate a whole lot more to come from her in the days to come. 


As you can see, and will soon hear Gold Rush is a powerful set of work. Something that’s been fermenting in her mind for a long time, and only now has she been able to handle it. Express herself fully, and put it to music. Highlights opening track, “Aftermath” plus the likes of the moody “Living on Lonely” backed by a stirring, impassioned “Burning Down Birmingham”. Follow that anyone! All three are wonderful songs. Aldridge marries country Americana, rock and smidges of pop as she opens her heart, and brings a little of the deep South to the table. As in troubled tale “I Know Too Much”, and with her vocals and heart bruised “Lace” digs deep into her soul, prior to her signing off with the title track “Gold Rush”. The sensitive ballad has her joined by co-producer Jordan Dean (a role shared with M. Allen Parker) as she produces one of the most captivating of songs, the restrained instrumental support couldn’t be more supportive or better.


                                                           Maurice Hope        


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April 2018

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