Drayton Farley & J.R. Carroll Cover "GD Lonely Love"

Southern Rock Tragedy

The Crud Report / November, Volume II

Don't Try to Change Who You Are Boy

In 8-10 Years

The Crud Report: February '22

 A few days early.

Anti-Capitalist Country Singer Dismayed by Lack of Airplay

YouTube country sensation Dexter Youngblood keeps hitting a glass ceiling. According to the singer of “My Big Ol’ Truck,” country radio refuses to play the song, which has amassed 1.3 million plays on the video site. “I know it seems hypocritical to seek fortune for my hard work, but capitalism is compulsory at this point in history in America, so why not attempt to spread my message?” asked the Oregon native. 

The song, a modern sounding pop-country anthem complete with snap beats and talk-singing, promotes a community based enjoyment of his ’22 Ford F-150 Lightning for partying, trips to ‘parades,’ and helping out ‘people like us.’ While innocent on the surface, there are mentions of the color red, stars, and hammers that let you know Youngblood is adept at symbolism.

“Frankly, it’s a non-starter.” said industry insider Jova Marks. “While the song is innocuous enough and it bangs and slaps and whatnot, mainstream country now is as much based on image and personality, so a little digging by country fans who are predominantly conservative, would end Youngblood’s career before it gets off the ground.”

A press release sent to Farce the Music from Youngblood’s PR stated that his debut album For the Common Good is set for release in November. It will include songs with such titles as “We Can End It, Girl,” “Can I Smash (Capitalism),” “Burn Down My Hometown,” and a cover of Drive-by Truckers’ “Ramon Casiano.” 

The album will not be free, despite Youngblood’s close-held belief system. “My parents cut off my allowance because of a little drug issue I had, and I don’t want to lose my second house, so yeah, I’m participating in capitalism …but it’s a necessary evil for now,” he said, brushing a white powder off the sleeve of his Che Guevara t-shirt. 

At press time, Youngblood told us “I really don’t know why radio won’t play my music, but I bet its because I’m asexual.”

Luke Burkhardt Covers DBTs' "Outfit"

Make sure to check out Luke's new EP Postcard. It's very good. 

Monday Morning Memes: Blake Shelton, Kane Brown, Drive-by Truckers

More Monday Memes: Cody Jinks, Sam Hunt, Morgan Wallen

Tuesday Morning Memes: Stimulus Check Edition

What Your Favorite 2020 Album Says About You

 (Idea "borrowed" from Medium)

Dustin Lynch - Tullahoma

You were kicked out of at least 3 stores for not wearing a mask in 2020. You don’t really like music, you just like Dustin’s smile, abs, and … wait, you’ve moved on to Russell Dickerson.

Russell Dickerson - Southern Symphony

You have the attention span of a 2-year-old and this is the most recent pop country album that came out. You don’t have a boyfriend, but if you did, he’d leave you for your godawful taste in music.

Upchurch - Everlasting Country

You’ve only heard it twice during your allotted media time at the prison library but you love it. Your parents are more proud of your brother, a furry who smokes synthetic marijuana.

Elizabeth Cook - Aftermath

You have put a man into a headlock for the last cigarette. You’ve showed up to church looking like a million bucks after a night of drinking that would have ended a normal human.

Drive-by Truckers - The Unravelling

You’ve been a fan since way back. Way back in 2016. Your real life friends hate you despite having the same political beliefs.

Sam Hunt - Southside

You’re either an idiot, or an otherwise intelligent music journalist with one major blind spot. 

Matt Stell - Better Than That

You’re one of the 17 people who know who Matt Stell is, despite him having two #1 hits.

Arlo McKinley - Die Midwestern

Based on your listening habits, people would assume you’re a hard-living rancher or trucker, but they know better because they work in the cubicle next to yours. 

Tyler Childers - Long Violent History

You’re able to look past click-bait headlines to see the true meaning and measure of a man. Also, your standards for old timey fiddle music are pretty low.

Keith Urban - The Speed of Now

You worked from home all year, but made fun of people who were worried about Covid. You love Yellowstone, but hate that old timey music they play. Your kids couldn’t spell their own names until they were 8 - not because they have learning disabilities - because their names are some shit like Matthieuwe or Khelleighe.

Patterson Hood Mulls Temporary Peach State Return

By Kevin Broughton 

 Portland, Ore. -- After a chaotic and tumultuous four years – and an otherworldly 2020 – it’s only fitting that unbounded bliss can turn to crushing morosity in an instant. Such is the roller coaster existence of Patterson Hood, the Portland-based activist and political commentator who moonlights as the front man for the Drive By Truckers. 

Saturday, Nov. 7 was a joyous day by all accounts in the City of Roses. First CNN, then Fox News, and then all the other networks and wire services followed in turn: Joe Biden, they reported, would be the 46th President of the United States. Mostly peaceful celebrants rushed into the streets.

“It was beautiful, man,” Hood says. “Four years of fascism, finally over.” The Oregonian thought himself alone in his bliss, until that perfect moment when he found a kindred – and musical – spirit. “Kasey Anderson and I ran into each other. It turns out we were both throwing acid at the same Portland so-called ‘firefighters,’” he says. “Those dudes were f*cking with freedom-fighters who had mostly peacefully torched an Apple Store in celebration of Biden’s big win. I got the whole thing on my iPhone 12.” 

Jubilation became concern on multiple levels, to Hood’s chagrin. “Turns out Kasey’s on Federal paper and has an ankle bracelet,” Hood says. “Well, he said he had an ankle bracelet. I think it was a baby monitor, to tell you the truth. Anyway, he hauled ass when they made a curfew announcement on the loudspeakers.” 

Hood was undeterred, if now alone. And yet… 

“I joined up with some other freedom fighters, at the last Taco Bell before it peacefully went up in flames…” Hood trails off here, caught up in the memory of a poignant moment in Portland social justice history. He is a little weepy. 

“I got in line,” Hood says, choking up a bit before recovering his composure. “And person after person, be it he/she/xi/xxyx/cis, every one of us HUMAN PEOPLE said to Juan – so his corporate name tag said – YES, MY ORDER IS FOR A LIVING WAGE FOR ALL LETTUCE PICKERS IN THE CENTRAL VALLEY.” 

Hood isn’t shy admitting he enjoyed the sick burn. “I mean face it, what are corporatists gonna say in the face of that kind of truth?” Sadly, the euphoric social triumph would give way to realpolitik. Such is the duality of the Southern thing – Patterson Hood-style. 

“What totally freaked me out was that there was a whole other set of elections going on at the same time or whatever,” said Hood, who attended some college courses in Northern Alabama in the 1980s. “There are senate elections that happen, too. And there are some elections that happen in Georgia or whatever. And in January!” 

Hood – after reading the same story in The Daily Kos three times – grew tense. When he learned that two Senate runoffs in Georgia could drastically impact President-elect Biden’s agenda, he was at first cynical. “Typical redneck Georgia, man,” Hood said. “It’s just the same Jim Crow stuff: they make a Democrat win twice, just because he’s a black guy. This kind of racist shit is why I left Georgia after living there for like 20 years or something.” 

Yet rather than curse the darkness, Hood turned to a literary light. 

“Somebody turned me on to this guy Tom Friedman? He writes for the New York Times and magazines, too,” he said. “He’s like an expert, but still can deal with the common man. He’s interviewed taxi drivers from Athens to Rome. Which is perfect, since those are my two favorite cities in Georgia!” 

 It was a national television interview of Friedman that grabbed the fifty-something poet’s attention.    

 

“I mean, dude, that takes it up a notch,” Hood said. “This is serious activism! I thought my friend Topher in L.A. was owning the MAGA’s with his radical phone-banking.”

“I mean, I love the way my boy mimics that cis-white woman’s stupid accent, but you gotta give the nod to the writer guy,” he said. “Which is why I’m headed back to Georgia so I can vote for Rafael Warnock…and that one cis-white guy too, since he’s also a Democrat.” Asked if he had voted in Oregon, and if that might pose legal problems in the Peach State, Hood grew indignant. 

 “So f*cking what, man? I mean, you gonna buy into this Jim Crow myth of “voter fraud?” Hood snapped. “You’re telling me it’s against the law to go to Georgia to vote for a black man? It’s the most anti-racist thing to do, ever. Check your patriarchy and your white privilege, bro. Seriously. Besides, Gov. Abrams will pardon us all.” 

 As he gathered his things to prepare for his cross-country political odyssey, he took a moment to address a music-industry rumor about his band’s most recent political album. “It is nobody’s business whether President Xi and the Peoples’ Cultural Collective sent us a small donation to support our art,” Hood said. “Besides, you can’t prove it, and it’s a totally racist and sinophobic thing to say. Only a fear-mongering redneck from Texas would say such a thing. 

-- fake news

The Crud Report: October 2020

Shut Up and Listen

Road Dispatch: Jonathan Tyler at the Tabernacle in Atlanta, Feb. 6

Jonathan Tyler at the Tabernacle

By Kevin Broughton

These can be tough times for the independent, professional musician. Without a label’s support – and the bill that inevitably comes due for up-front money – an artist might find himself playing to a room of six people; then it’s on to the next town with no guarantee there, either. 

Jonathan Tyler – who’s been steadily grinding while putting the finishing touches on his next album – was recently presented an opportunity from an unlikely source, a chance to gain exposure to new audiences without taking a financial hit.

Those familiar with Tyler’s work might raise an eyebrow when they hear he’s opening for Midland, a mainstream country act on the Big Machine label. It actually makes perfect sense.  “It’s a cool opportunity, because I’ve become friends with these guys in Midland, and it might lead to more things down the road,” he says. It’s the second long weekend of three in this mini-tour. “Last week was Boston and New Jersey; this weekend is Atlanta, Huntsville, Ala. and Baton Rouge.” 

We caught up with Tyler over spaghetti and Budweisers after his sound check. In a couple hours, he’ll open the show at the Tabernacle, a historic and iconic Atlanta venue. And he’ll light the place up, rocking out a 30-minute set for the capacity crowd of 2,600 with the help of drummer Josh Greco (formerly of Austin’s Uncle Lucius.) Oh, and Midland drummer Robbie Crowell – who’s dabbling in bass guitar – joined them on that instrument for a couple songs.

After the Baton Rouge show Saturday, it’s back home to Austin where Tyler will put on his producer’s hat and record Jeremy Pinell’s next album in the studio he’s built in his house. He scored a Jack Daniel’s commercial last fall, enabling him to make upgrades. “I keep re-investing everything,” he says. “I did something for Camel cigarettes last year, too, and several other corporate music-production jobs. The Jack Daniel’s spot was such a huge opportunity for me, and I’ve bought more microphones and a bunch more gear.”

Texas Jonny backstage,
sporting a Kinky Friedman look

On the Midland opportunities, present and future:

“It’s been really nice. They’re letting me ride on the bus; they’re giving me enough money to make a little bit. It’s a good thing, to go on tour and not lose money. It’s a little early to be thinking about it, but I feel like we’re getting close to that point – where we might look at producing a cut, or helping them write a song on their next album. I’d love to do that. 

“Right now a three-week thing. It might turn into more. Maybe they’ll ask me to do more dates.”

On expanding his in-home studio: 

“Now I’m able to invite other artists into my house and make music with them. It’s a win-win, all the way around.”

On producing and engineering for Jeremy Pinnell:

“I met Jeremy through a friend and got to check out a few of his shows. He’s just out there grinding, playing three or four shows a week, driving from town to town. Jeremy’s really putting in the hard work, and his band has gotten so tight. He’s another one of these guys who’s just so good, but gets overlooked by the modern country ‘business.’ So I wanted to help him out and make music with him. We’ve already done a lot of pre-production. So he and his band and I are just gonna track a bunch of stuff live; we’ll try to get it all done in five days. It won’t be easy, but those guys are real musicians, man. They can play. And Jeremy’s one of those blue-collar guys. I really respect his work ethic.”

(Note: as of press time, Pinnell & his band were on their way from Austin to Little Rock for a Valentine’s night show. “No title yet,” Tyler says. “But it’s gonna be really good.”)

On the release of his album, the follow-up to 2015’s Holy Smokes:

“I’m trying to figure it out. I made the album on my own – self-financed – and it wasn’t cheap. So I’m sorta out of money right now. I may just self-release it into the vacuum. It’d be nice to have a record label, but these are tricky times; I’ll probably just start releasing individual tracks on my own, directly to Spotify, Apple Music and the other outlets in March because I just can’t wait any longer. I would say that the entire album will be released by the summer time.” 

Final thoughts?

“The new Drive By Truckers album may have been financed by the Chinese government. I really don’t know.”

Bernie's Bands

Saturday Night Music / Drive-by Truckers / “Never Gonna Change”

The "I Didn't Like Drive-by Truckers Until They Were Woke" Starter Pack

Whiskey Myers: A Self-Titled Masterpiece

By Kevin Broughton

When Whiskey Myers front man Cody Cannon got the call last year, the band was in the studio working on what would become their fifth, self-titled album. The pitch: Would the group like to appear in Kevin Costner’s Yellowstone? Not just on the soundtrack, but in an actual scene? 

It was a no-brainer, and a decision that had nearly immediate – and retroactive – benefits for the Palestine, Texas-based Red Dirt rockers, as noted by Saving Country Music:

In the aftermath of the episode, the band’s most recent album, Mud, went to No. 1 on the iTunes country chart, and Top 20 all-genre on the hourly-updating aggregator. Also, their album Firewater came in at No. 3 in country, and the album Early Morning Shakes came in at #9. On the iTunes country songs chart, the song “Stone” was in the Top 10.

In an ever-evolving music business, independent artists often find a shot in the arm of exposure from film and television; Colter Wall, Chris Stapleton and Scott Biram all got boosts from appearing on the soundtrack of the Oscar-nominated Hell or High Water. But Whiskey Myers’ catapult ride from relative obscurity to the forefront of commercial success was almost otherworldly. The Yellowstone appearance landed three previous records – dating back seven years – in the country Top Ten. That momentum set the stage perfectly for the band’s self-titled album released today. 

Their two previous offerings, 2016’s Mud and Early Morning Shakes from 2014, were both helmed by all-world producer and Grammy machine Dave Cobb. For their fifth release, though, the band decided to produce it themselves. Lead guitarist and multi-instrumentalist John Jeffers emphasizes how a sense of collaboration and experimentation really defined their whirlwind eighteen days of recording at the Sonic Ranch studio, outside of El Paso. “There’s never a right or wrong answer when it comes to ideas,” he says. “We would run every single idea from everyone — some work and some don’t, but we give them all a shot. And then there’s that magical moment when the whole band hears it, your eyes get a twinkle — ‘That’s it, that’s us!’”

Their do-it-yourself result is a Southern rock masterpiece.

The album kicks off with “Die Rockin’.” Cannon’s raspy, proud vocals are right in your face – and you definitely feel the influence of co-writer Ray Wylie Hubbard. 

Over the course of fourteen tracks, though, songs expand, moods change and songs like “Bury My Bones” and “California to Carolina” explore different stories and emotions. “You want an album to be like a rollercoaster,” says Jeffers. “Does it really take you for a ride, with ups and downs and some loops and sometimes you’re upside down?”

There are indeed shifts in the album’s momentum and flow. “Bitch” is the best indictment of Bro-country you’ll ever find. 

Collaborative writing with Adam Hood (“Rolling Stone”) and Brent Cobb (“Running”) provide balance and country texture. Ultimately, however, this is a Southern rock album in the very best tradition of the nearly forgotten genre. “Houston County Sky” channels The Marshall Tucker Band, and “Little More Money” and “Bad Weather” are right out of Dirty South-era Drive By Truckers. “Hammer” is a sultry, swampy reminiscence of early Black Crowes.

Whiskey Myers has positioned itself on the cusp of rarified air; can they enjoy widespread mainstream success without benefit of commercial radio in the way, say, Jason Isbell has in recent years? We’re about to find out. This album is a triumph. 

Whiskey Myers is available everywhere you consume music today.