The original is in Italian here.

My Favorite line, “Give a chance to Grant Langston and his Stand Up Man.” I can hear Roberto Begnini saying that.

“For those who feel orphaned at the moment of a new release of Dwight Yoakam, here is another son of California country that arrives with loads of tradition and power.  His Bakersfield sound redefines today’s Americana sensibility with a touch of rockabilly that never fails. His name is Grant Langston; he hails from a small town in Alabama, but many years ago moved to the LA scene that we know is always very lively in roots rock and new country. Stand Up Man is born in this climate with a style that reminds us not only of Yoakam, but a little of every so-called new traditionalist (we can even add Marty Stuart and Buddy Miller) that since the 80’s have brought fuel to the genre: melodic and captivating songs, the main role of the guitar (that beautiful Gretsch that Langston embraces on the cover), and a beautiful voice that tells stories with a grain of irony.

Langston produces in the company of Rich McCulley (another songwriter whom we met on this page) and is mainly backed by Supermodels (Larry Marciano, guitar and dobro, Tony Horkins, drums, Josh Fleeger, bass), a good combo that highlight the freshness of the compositions of the leader.  If the opinion is not too biased, it is therefore not a matter of the instrumental quality of the disc: Stand Up Man is played with great gusto and in its most sparkling moments, (the title track, honky tonk “Burt Reynolds Movie Brawl” and “Call Your Bluff,” “Damn Good Day” runs and puffs as the best Johnny Cash) is undoubtedly a good mood, but I also think that it cannot leave the consolidated platforms of the genre. They are not, however, guilty of excess: Grant Langston, who has been in business ten years and with an already rich discography behind him, is an author who moves with great awareness in the large river of tradition, making him perhaps the most exuberant of other young colleagues.

For those of us who host the deeds of the alternative-country sound regularly on this site, it’s not a surprise to find the same classic county rock of “30 Days” and “I Give Up” (a touch of bluegrass fiddle with Amy Farris and McCulley of the mandolin), textbook Nashville ballads such as “Pretend You Love Me Tonight” and “Broken Clocks,” as well as a strong rock’n'roll road bearing the name “Not Another Song About California,” and it is one of the best hypothetical “individual” Americana heard recently. And then, in fact, in the “alternative” there is really little: it is rather a demonstration of how this music should always be played, a love for the roots, but without being too respectful. If you liked the recent return to the scene of Chuck Mead - to name another family member in the music - give a chance to Grant Langston and his Stand Up Man.”