Categories: Actress

Alison Krauss Phone Number, Email, Fan Mail, Address, Biography, Agent, Manager, Publicist, Contact Info

If you want to know about Alison Krauss’s real phone number and also look for Alison Krauss’s email and fanmail address then, you are at the correct place! We are going to give you the contact information of Alison Krauss like her phone number, email address, and Fanmail address details.

Alison Krauss Contact Details:

REAL NAME: Alison Krauss
NICKNAME: Alison Krauss
DOB: 23 July 1971 (age 50 years), Decatur, Illinois, United States
BIRTHPLACE: Decatur, Illinois, United States
NATIONALITY: American
BIRTH SIGN: Leo
PROFESSION: Actress
FATHER:  Fred Krauss
MOTHER: Louise Krauss
SIBLINGS:  Viktor Krauss
SPOUSE / HUSBAND: NA
CHILDREN: Sam Bergeson
INSTAGRAM HANDLE: https://www.instagram.com/alisonkrauss/
TWITTER HANDLE: https://twitter.com/alisonkrauss
FACEBOOK HANDLE: https://www.facebook.com/OfficialAlisonKrauss


Alison Krauss Bio

Alison Krauss (born July 23, 1971, in Champaign, Illinois, United States), American bluegrass fiddler and singer who performed folk, gospel, country, pop, and rock songs in the unamplified bluegrass style, both solo and in collaboration with her band, Union Station. She was instrumental in reviving interest in bluegrass music in the early twenty-first century.

Krauss began learning classical violin at the age of five and quickly established himself as a bluegrass prodigy. She won multiple contests as a flamboyant fiddler, led a band at the age of ten, won the Illinois State Fiddling Championship two years later, and received a recording contract at the age of fourteen. In 1990, for her third album, I’ve Got That Old Feeling, she won a Grammy Award. Union Station’s initial lineup included Krauss’s older brother, Viktor, who later joined Lyle Lovett’s backup band. As Union Station altered and evolved, Krauss’s soprano singing became a critical component of the station’s success.

By 1995, the group had established itself as a major bluegrass act, thanks to the success of the album Now That I’ve Found You and the chart-topping single “When You Say Nothing at All.” Each of Krauss’s subsequent albums became big sellers, and her performances on the soundtracks for the films O Brother, Where Art Thou? (2000) and Cold Mountain (2003) helped promote bluegrass to a new generation.


She has also been nominated for three additional Grammy Awards for Lonely Runs Both Ways (2004) and for the duet “Gone Gone Gone” with Led Zeppelin frontman Robert Plant. That single was included on Krauss, Plant, and producer T-Bone Burnett’s 2007 album Raising Sand. Burnett, who had collaborated with Krauss on the O Brother, Where Art Thou? and Cold Mountain soundtracks, created a sound that was equal parts Appalachian roots music, power pop, and guitar-driven rock, all anchored by Krauss and Plant’s distinctive vocals. The album was a tremendous crossover success, peaking at number two on the Billboard pop and country charts, and earning the duo five Grammy Awards, including record and album of the year.

Krauss won her 27th Grammy Award in 2012 for Paper Airplane (2011), a collaboration with Union Station for the first time since 2004. With this award, Krauss equaled Quincy Jones for the most Grammys won by a living artist. Windy City, her first solo album since 1999, was released in 2017. It featured the 1950s and 1960s country music. Krauss received the 2019 National Medal of Arts for “extraordinary contributions to American music.”

Alison Krauss Phone Number

Country music, alternatively referred to as country and western music, is a kind of popular music in the United States that began in rural parts of the South and West in the early twentieth century. The recording industry introduced the name country and western music (eventually shortened to country music) in 1949 to replace the pejorative moniker hillbilly music.

Country music’s origins can be traced all the way back to the ballads, folk songs, and popular songs of the English, Scots, and Irish settlers of the Appalachians and other regions of the South. The traditional string-band music of the Southern mountain regions began to be commercially recorded in the early 1920s, with Fiddlin’ John Carson achieving the genre’s first chart success in 1923.

The intensity and reality of country songs, many of whose lyrics were fairly impersonal tales of tragedies pointing to a severe Calvinist moral, stood in stark contrast to the frequently mawkish romanticism of much popular music at the period.

More than recordings, broadcast radio was critical to the emergence of country music. In the 1920s, small radio stations began to arise in bigger Southern and Midwest cities, and many of them devoted a portion of their airtime to live or recorded music geared toward white rural audiences. The “National Barn Dance” from Chicago, which began in 1924, and the “Grand Ole Opry” from Nashville, which began in 1925, were two influential regular shows.

The initial success of such shows prompted additional recordings and the presence of skilled musicians from the hills in radio and recording facilities. Among them were the Carter Family and Jimmie Rodgers, whose performances impacted subsequent musicians significantly. These early recordings were of ballads and country dance tunes and featured the fiddle and guitar as lead instruments over a rhythmic foundation of guitar or banjo.

Country music expanded into new places and was exposed to new influences, such as blues and gospel music, as a result of the migration of many Southern rural whites to industrial towns during the Great Depression and World War II. Country music’s nostalgic bent, with its songs about grinding poverty, orphaned children, heartbroken lovers, and lonely laborers far from home, had a special appeal at a period of rapid population change.

During the same time period, a determined effort was made to rediscover some of country music’s fundamental values. Bill Monroe, a mandolinist, and his string band, the Blue Grass Boys, abandoned more current rhythms and instruments in favor of lead violin and high harmony singing. Earl Scruggs, his banjoist, invented a great three-finger picking style that elevated the instrument to the lead position.

However, marketing exerted a far greater influence when country music gained popularity throughout the United States following World War II. In 1942, Roy Acuff, one of the most influential country singers, co-founded the first country music publishing firm in Nashville. Hank Williams’ spectacular ascent to prominence in the late 1940s aided in establishing Nashville as the unquestioned capital of country music, complete with big recording studios and the Grand Ole Opry as its primary performing venue.


Tex Ritter, Johnny Cash, Tammy Wynette, Buck Owens, Merle Haggard, Patsy Cline, Loretta Lynn, and Charley Pride were among the pioneers of country music in the 1950s and 1960s. Popular artists frequently recorded songs in the Nashville style, while many country music records featured beautiful orchestral accompaniment.

The 1970s saw the rise of notable Nashville ex-pats Willie Nelson and Waylon Jennings’ “outlaw” music. The divide between country and popular music continued to close in the following decade as electric guitars supplanted more traditional instruments and country music gained acceptance among a national metropolitan audience. Country music remained vibrant far into the late twentieth century, thanks to musicians as diverse as Dolly Parton, Randy Travis, Garth Brooks, Reba McEntire, Emmylou Harris, and Lyle Lovett.

Its popularity has remained uninterrupted into the twenty-first century, as demonstrated by artists such as Kenny Chesney, Brad Paisley, Alan Jackson, Blake Shelton, Carrie Underwood, Miranda Lambert, the Zac Brown Band, and Chris Stapleton. Despite its adoption of other popular styles, country music preserved its recognizable identity as one of the few authentically indigenous musical styles in America.

Merle Haggard, full name Merle Ronald Haggard (born April 6, 1937, in Oildale, California, United States—died April 6, 2016, near Redding, California), was an American singer, guitarist, and songwriter who was one of the most popular country music performers of the late twentieth century, amassing nearly 40 number one country singles between the late 1960s and the mid-1980s.

Haggard was raised in a converted boxcar after his parents relocated from the Oklahoma Dust Bowl to the Bakersfield area of California. His father died when he was nine years old, and by the age of 14, he had fallen into a life of petty crime and truancy, which included many spells in juvenile facilities. His antics eventually landed him in the California State Prison at San Quentin from 1957 to 1960. (Singles such as “Branded Man” [1967] and “Sing Me Back Home” [1968] reflect this experience.)

Haggard was already performing music when he was imprisoned, and upon his release, he resumed his job in bars and clubs. He began his career as a sideman for Wynn Stewart and Buck Owens, practitioners of country music’s stripped-down, hard-driving “Bakersfield sound,” and his debut album was Stewart’s “Sing a Sad Song” (1964). Three years later, Haggard achieved chart success with “The Fugitive” (1967; later renamed “I’m a Lonesome Fugitive”).

Many of the songs he wrote, such as “The Bottle Let Me Down” (1966), “Mama Tried” (1968), “Hungry Eyes” (1969), and “If We Make It Through December” (1973), have a melancholic tone, which reflects in part his traumatic adolescence. Additionally, he wrote, “Okie From Muskogee” (1969), his most well-known recording, a novelty song that sparked controversy due to its apparent attack on hippies. Additionally, the patriotic hymn “The Fightin’ Side of Me” (1970) was popular, despite his music being rarely political and frequently and empathetically drew on the working class, the destitute, and oppressed.

Haggard had a smooth baritone voice and a varied repertoire that included early jazz and country classics as well as contemporary hits. He frequently recorded songs written by others, including western swing bandleader Bob Wills, a formative influence on whom he dedicated the CD A Tribute to the Best Damned Fiddle Player in the World (1970). Haggard, a multi-instrumentalist himself, was well-known for the caliber and versatility of his supporting ensembles, which included some of Wills’ old sidemen by the 1970s.


Haggard received multiple honors from the Country Music Association and Academy of Country Music, and he earned a Grammy Award for best country vocal performance in 1984 for “That’s the Way Love Goes.” He was inducted into the Country Music Hall of Fame and the Songwriters Hall of Fame in 1994 and 1995, respectively (2007). Haggard was designated a Kennedy Center honoree in 2010.

Middle Eastern music, also known as Arabic, Turkish, and Persian music. Despite the fact that there are three major languages and related cultural diversity, the music can be considered a single great heritage due to Islam’s unifying aspect. Islam’s historical aversion to music has resulted in a dearth of religious ceremonial music, but it has not harmed secular music, if anything, it has enriched it with a strong religious element. Only individuals who adhere to particular disciplines, such as Sufism, have employed music (and dance) for worship; nevertheless, within the mosque, activities resembling music (but not considered music per se) have generally been limited to the call to prayer (adhan) and Qur’an reciting.

In the Middle East, folk music and art music are less distinct than in other parts of the world, owing to the fact that folk music, like art music, has long been the domain of professionals (including many women), and the two traditions are mainly based on comparable concepts. Both are frequently performed by soloists, either alone or with a small group. The rhythmic method is likewise similar, being closely tied to prosody principles but also utilizing rhythmic modes known as qt in Arabic. Both styles of music have distinctive nonmetric improvisations. The melodic and tonal structure of performances, which is based on an Arabic system of modes known as maqam, is also found in folk and art music traditions.

A typical performance will alternate between prepared and improvisational passages, with the composed sections backed by percussion instruments hitting one of a set of conventional patterns that articulate the rhythmic mode. Melodic instruments, such as the ny (flute), Zorn (double-reed instrument), d (short-necked lute), and sand (trapezoidal zither), play in sync with the solo line during the composed sections and one or two beats behind it during the improvisational sections.

The advent of Western-influenced commercial popular music, particularly after 1950, had an effect on Middle Eastern art music, which today incorporates less improvisation and more precise unison between parts in shorter compositions. The Middle East has historically been a significant supplier of musical instruments to the rest of the world. Bagpipes, guitar, flute, oboe, tambourine, viols, and the majority of zithers originate in the Middle East.

the Chicks, originally the Dixie Chicks, are a country music band from the United States of America that found crossover success in the pop industry. Martie Maguire (née Erwin; b. October 12, 1969, York, Pennsylvania, United States), Emily Robison (née Erwin; b. August 16, 1972, Pittsfield, Massachusetts, United States), and Natalie Maines were the group’s major members (b. October 14, 1974, Lubbock, Texas, U.S.). Among the group’s early members were guitarist Robin Lynn Macy, who left in 1992, and vocalist Laura Lynch, who was replaced in 1995 by Maines.

Prior to Lynch’s departure, the trio issued three albums: Thank Heavens for Dale Evans (1990), Little Ol’ Cowgirl (1992), and Shouldn’t I Have Told You That (1993). (1993). The Dixie Chicks gained notoriety for their instrumental prowess, with Martie Erwin on fiddle and mandolin and her sister Emily on banjo, guitar, dobro, and bass. Following Maines’ appointment as lead singer, the trio signed with Monument Records and began reinventing their cowgirl image and sound, finally establishing themselves as sophisticated performers with a smash country tune, “I Can Love You Better” (1997). Wide Open Spaces (1998), the lineup’s debut album, sold over 12 million copies in the United States and was named best country album at the 1999 Grammy Awards. The Grammy Award for best country ensemble vocal performance went to “There’s Your Trouble.”


Alison Krauss helped introduce bluegrass to a new audience with music that held loyal to the style’s roots while also appealing to country and crossover listeners. Krauss was initially lauded for her fusion of bluegrass, folk, and country influences from the outset of her career, but it wasn’t until her platinum-selling 1995 compilation Now That I’ve Found You that she achieved national stardom. Between her 1987 debut Too Late to Cry and Now That I’ve Found You, she developed from a young prodigy to a talented, ambitious, and diversified musician, releasing some of the late ’80s and early ’90s’ most forward-thinking bluegrass. Krauss later gained global pop acclaim through her involvement on the soundtrack to the film O Brother, Where Art Thou? and a collaboration project with Robert Plant called Raising Sand (the two reunited for Raise the Roof in 2021).

Krauss began taking classical violin lessons when she was five years old. She quickly became tired of the classical regimen and began performing country and bluegrass licks. She began entering talent contests in and around her hometown of Champaign, Illinois, when she was eight years old. She formed her own band two years later. In 1983, at the age of 12, she won the Illinois State Fiddle Championship and was voted the Midwest’s Most Promising Fiddler by the Society for the Preservation of Bluegrass in America.

Krauss’ debut album, Too Late to Cry, was released in 1987 to rave reviews. The album was recorded with Krauss’ backing band, the Union Station, which included guitarist Jeff White, banjoist Alison Brown, and bassist Viktor Krauss; the following year, the quartet won the National Band Championship event sponsored by the Society for the Preservation of Bluegrass in America.

Union Station’s lineup had largely stabilized at this point. It now included Adam Steffey on mandolin, Ron Block on banjo/guitar, Barry Bales on bass, and Tim Stafford on guitar; Stafford eventually quit the group and was replaced by Dan Tyminski.

Alison Krauss & Union Station released Every Time You Say Goodbye in 1992, a collection of tunes that were characteristically varied. The album was charted on country radio, and Krauss’ videos were broadcast on Country Music Television. I Know Who Controls Tomorrow was released in 1994 and was a much bigger success.

However, it was Krauss’s 1995 compilation Now That I’ve Found You: A Collection that catapulted him to stardom. The album peaked at number two on the country charts and, more surprisingly, entered the pop Top Ten, selling over a million copies. Its popularity cemented her place as the leading star of bluegrass in the 1990s.

Krauss & Union Station released So Long, So Wrong in spring 1997, following the unexpected success of Now That I’ve Found You. In mid-1999, Forget About It was released. A year later, Krauss & Union Station collaborated on the multi-million-selling soundtrack O Brother, Where Art Thou? with John Hartford, Ralph Stanley, and others. In summer 2002, Krauss and her band embarked on a North American tour featuring several of the album’s stellar performers, causing their fame to skyrocket. New Favorite debuted in November and achieved gold status four months later.

Soon after, Krauss produced a live album, and in 2004, he released Lonely Runs Both Ways. A Hundred Miles or More was published in 2007 and included tunes from Krauss’ Rounder albums, as well as sides produced for other soundtrack projects and five previously unreleased recordings. Raising Sand, a critically acclaimed, multi-platinum collaboration with Robert Plant, was also released in 2007. She reunited with Union Station for 2011’s Paper Airplane, which the band self-produced and engineer Mike Shipley engineered.

Alison Krauss Address, Phone Number, Email ID, Website
Phone NumberNA
House address (residence address) Decatur, Illinois, United States
Official WebsiteNA
Snapchat IdNA
Whatsapp No.NA
Instagram https://www.instagram.com/alisonkrauss/
Facebook https://www.facebook.com/OfficialAlisonKrauss
TwitchNA
Twitter https://twitter.com/alisonkrauss
TicTok IdNA
Email AddressNA
Office addressNA
Office Number(615) 871-OPRY

Alison Krauss Address information:

Grand Ole Opry
(Public Relations Agency)
2804 Opryland Drive
Nashville, TN 37214
USA

Alison Krauss Official website:  NA

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5. Alison Krauss Phone Number, House Address, Email Id

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Alison Krauss phone number: (615) 871-OPRY
Alison Krauss email id: NA


Alison Krauss Fan mail address:

Alison Krauss
Grand Ole Opry
2804 Opryland Drive
Nashville, TN 37214
USA

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