This weekend marks another UFC pay per view event, so we check in with Brother Jeremy Pinnell. Fresh (well, maybe not so fresh) off a Thursday night gig opening for Dale Watson in The Bluff City, our partner was a little sassy this morning. (Note to self: don’t hassle a dude about deadlines if he could choke you unconscious.)
Let’s mix it up.
Since last time, I’ve had a chance to listen to The Wilder Blue's self-titled album, and Ian Noe's River Fools and Mountain Saints. These seem like some hot rocks to me. Your thoughts?
I absolutely love that Ian Noe record. He’s an amazing songwriter. I haven’t had too much time to dig into The Wilder Blue but the harmonies are killer and they sound like some talented folks. It’s also 9:00 a.m. and we’re in Memphis so I’m a little out of it. I’ll apologize for my answers after being berated by you last night for a slow turn around.
Moving right along…Say you're a presenter at The Americana Awards. You make what you think is a harmless remark about a nominee's wife's bald head (my hypotheticals are laced with irony.) Husband approaches you, winding up for an open-hand slap. What's your best jiu-jitsu counter move, knowing you have to keep the show flowing?
Hahaha! If I saw said guy approaching, I’d probably close the distance. I’d maybe shoot a double leg and go side control to mount.I’d control the position until security came or just try to keep distance. But I feel like that is a pretty threatening act which would call for immediate action.
I wasn't crazy about this UFC 273 card at first, but you kinda changed my mind. I think the Korean Zombie is kind of a weird matchup for Volkonovski. That could be a good fight, with the Zombie's length. The rematch of Yan vs. Sterling ought to be lit – given the controversial way Sterling “won” the belt.
And Burns/Chimaev has potential for a great fight. What are you looking forward to in this PPV?
I was stoked on this card as soon as I saw it. Volkonovski is a banger but Zombie is a murderer. I think everyone knows Sterling doesn’t deserve that belt; he said it without saying it when they put it around him. His pace in the last fight was awful. I’m not a fan. Yan is obviously a way more measured fighter.
Also, Chimaev - Burns is gonna be a war. There’s so much hype with Kazmat right now and, I’m really stoked on that.
If you were able to competently play one instrument besides acoustic guitar, what would it be, and why?
I’d probably play piano, if I could be a modern-day Mickey Gilley or Jerry Lee. Maybe you can buy me some lessons for Christmas.
From their 2018 sophomore album Songs From The Deluge, here's Western Centuries performing "Wild Birds" live at KEXP.
Jim Miller died suddenly and tragically following the kickoff show on Thursday night of the band's first tour in two years. As Jim sang of the death of his parents in the final verse, "No law on Earth can justify this crime."
“Man, we played Macon last night, and I kinda blew my voice out,” are the first words out of Brent Cobb’s mouth during a brief tour-bus visit before a late February show in Atlanta. And why wouldn’t it happen? Macon’s just 70 miles up the road from Cobb’s hometown of Ellaville; what to expect, if not a rocking show?
And yet, there’s one more tour stop, tomorrow in Nashville. Our boy was gonna have to dig deep.
And dig deep he would. Atlanta’s a good bit further from Ellaville than Macon, but there’s a partisan Cobb crowd on hand. It’s largely respectful of the opening act – rising country star Gabe Lee – but there’s a sense of anticipation bordering on rowdy.
As the moment arrives, Cobb and the band make quite the entrance: the front man in a shiny, mother-of-pearl-colored jacket with raised paisley, his bandmates sporting Kelly-green blazers of their own. The night is actually three concerts in one, as most of the songs from the gospel record make an appearance. After a quick jacket swap – as mother-of-pearl gives way to mustard corduroy – there’s a brief acoustic solo set, followed by a full-band, secular rocker to close things out.
It’s not until the last leg that Cobb’s vocal fatigue peeks in. “So, we played Macon last night, and I kinda blew my voice out,” he tells the crowd, before addressing the sound man. “Could we double up the vocal monitors, please?” And he soldiered on, including this live version of his 2020, tongue-in-cheek “Shut Up And Sing.”
Unsurprisingly, the lights come on after the last song of the set, signifying there’ll be no encores. Nobody complains, knowing they’ve watched a native son leave it all on the stage.
Welcome to
the inaugural edition of Mixed
Music Action, a hybrid
back-and-forth between Jeremy Pinnell and Kevin Broughton that
touches on the worlds of music and mixed martial arts…and whatever
else may suit them.
When Kevin
interviewed
Jeremy last fall in advance of the release of his phenomenal
album, Goodbye L.A.,
he was delighted to learn that Jeremy practices Brazilian jiu-jitsu
and, like himself, is a big fan of the UFC. Two guys, two great
topics and a platform like FTM?
To quote UFC ring announcer
Michael Buffer – though much more succinctly – “It’s time!”
KB:
I
caught a show with an artist last weekend -- the second-to-last show
on this tour. He was really struggling
with his voice, and I didn't envy him on the next night's show. That
has to be a common problem in your line of work. Do you have a go-to,
emergency throat remedy, beyond gargling salt water?
JP:First of all I want to say
I’m happy we’re doing this. Gonna be fun.
So,
losing your voice happens a lot. When you’re singing two hours a
night -- and we’ve done four-hour nights -- it’s unavoidable. I
supplement while on the road: Vitamin C, Vitamin D… I try not to
smoke cigars. Throat Coat has been proven to work when necessary. But
you have to go hard.
KB:
When
I recently asked you what's good to listen to these days, your first
answer was the new Cactus Blossoms album. They remind me a lot of the
early Jayhawks, right down to the Minneapolis roots. What about them
do you find so appealing?
JP:
I just dig their
Everly Brothers sound. The harmonies, the hooks, the songwriting,
etc. I also dig the Jayhawks and have seen them twice. Once when I
was 16, they opened for The Black Crowes at Riverfront Coliseum 1993.
The lights were on and people were strolling in when The Jayhawks
played.
KB:
Two poignant answers there. In a subtle way, you let me know that
I’ve got a decade-plus on you, and now I’m jelly that I never saw
the Jayhawks open for the pre-implosion Black Crowes. Whose idea was
this feature, again?
Anyway,
what's up with JP these days? You touring, raising young 'uns,
rolling in the BJJ studio? A little of everything?
JP:
I’ve been able to
hit the Carlson Gym a little more, but touring is picking up quite a
bit. I’m looking forward to summer. Yesterday was open mat at the
gym, and my son and I went down, and some surrounding gyms showed up
and everyone rolled for a couple hours. It was really cool seeing my
son use the things he’s learned and enjoy himself. He’s seven, by
the way. He and I have been enjoying Brazilian Jiu Jitsu quite a bit.
KB:
Looking
ahead to this weekend's UFC 272 card: The main event has "must
see" written all over it, and to say there's bad blood between
Colby Covington and Jorge Masvidal is like saying Jon
Tyler dabbles in conspiracy theories.
Covington is a sizeable favorite, and his only recent losses are to
Welterweight Champion Kamaru Usman. Jorge is a fan favorite who needs
a win.
Your
thoughts on the matchup, please, and give me the winner and method of
victory. I'll even go first and say Covington by unanimous decision;
his wrestling's too much.
JP:So I talked to my BJJ
instructor and asked him his thoughts. I’m a Jorge fan obviously,
but he said Colby will probably wear him down by using his wrestling,
and probably win by decision. But the cool thing about a fight is,
anything can happen! I think Jorge is fighter’s fighter. I don’t
think anyone will like Colby even if he does win.
KB:
Hmmm. Going to a ringer for advice on picks? I mean, I’m not
calling Brent Cobb or Leroy Virgil for advice on what music questions
to ask, but whatever.
Finally,
pick me another winner on this fight card.
JP:
I like Kevin Holland,
but Alex Oliviera is fierce. I’ll take Alex. I’m also taking
Edson Barboza over Bryce Mitchell, even though I like Bryce more. But
who knows?*
-----
*Solid,
underdog picks from the Kentucky Troubadour here, ladies & gents.
Serious value plays.
Caught halfway between amplified Americana and heartland roots-rock, Jason Scott & the High Heat create a sweeping, dynamic sound that reaches far beyond the traditions of their Oklahoma City home. Too loud for folk music and too textured for Red Dirt, this is the sound of a genuine band rooted in groove, grit, and its own singular spirit, led by a songwriter whose unique past — a Pentecostal upbringing and years logged as a preacher-in-training — has instilled both a storyteller's delivery and a unique perspective about life, love, and listlessness in the modern world.
While his bandmates — Gabriel Mor (guitar), Taylor Johnson (guitar, keys), Alberto Roubert (drums), and Ryan Magnani (bass) — grew up listening to popular music, Jason's childhood was shaped by the sounds of Sunday morning church service. He sang in the choir and eventually learned to lead his own congregations, often turning to music to get his messages across.
A multi-instrumentalist, producer, engineer, and session musician, Scott launched his solo career with 2017's Living Rooms. The 5-song debut EP introduced him as a folksinger with a knack for "fun little earworms" (NPR), and he spent the following year balancing his time between the road and the studio, where he produced albums for Americana artists like Carter Sampson, Ken Pomeroy, and Nellie Clay. Things began to expand as he assembled the High Heat, a band of multi-faceted musicians and roots-rock Renaissance men who, like their frontman, juggled multiple artistic pursuits. Together, Jason Scott & the High Heat have since become a self-contained creative collective whose talents include songwriting, music production, photography, video direction, and more.
Castle Rock marks Jason Scott & the High Heat's full-length debut. "Quittin’ Time" makes room for a dual-guitar attack, a barroom piano solo, and a storyline about a hardworking man's fruitless attempts to escape his limited horizons, while "Cleveland County Line" flips the script, delivering a narrative about a prodigal son bound for home after a dark spiral of Kerouac-worthy travels. Lead single "Suffering Eyes" — with its twinkling keyboards, chugging power chords, and cascading guitar arpeggios — is heartland rock at its modern-day peak, as panoramic as the Oklahoma plains themselves.
This album will remind you of a lot of your favorite artists, yet every song is original. Jason Scott may be a man of few words, but his music has a lot to say.
You hail from Oklahoma City, but this isn’t a red-dirt record; I hear more Tom Petty & John Prine than Ragweed or Turnpike, for instance. Can you share who some of your eclectic range of influences are?
Sure, yeah. Well, those two for sure, Tom Petty and John Prine. I like James Taylor a lot. I like songwriters: Guy Clark, Townes, stuff like that. And just about everything in between, really. Hip-hop…Kendrick Lamar. I’ve got a bunch of old Dean Martin Christmas records, too, so I like a little bit of everything.
You’ve been producing records for a while. How did that help with the efficiency of the recording process, and implementing your vision for this album?
I actually went to school for some “studio stuff” at ACM here in Oklahoma City. I’ve just been in and out of studios for the last 15 or so years of my life, and several of the guys in my band are in that environment, too. Taylor Johnson, who plays guitar for us, is an incredible engineer and producer. So yeah, having a team around you like that certainly helps in the start you get from start to finish, that’s for sure.
An interesting nugget from your bio: You grew up in a Pentecostal household and were actually training to be a pastor before dealing with – and I’m quoting here – “a crisis of faith.” Expound on that a little; how has it affected your writing, and familial relationships, for that matter?
I definitely had an “I’m Leaving” moment, and that put some distances in some friendships and relationships for sure. Most of the ones who count are still people in my life. But going back to songwriting, you know, the Bible is full of good stories, so being a Pentecostal certainly influenced me in my writing.
When I heard the tag line, “Ain’t nobody gonna roll the stone away” in “The Stone,” it initially conjured images of the first Easter. But that’s a song about a veteran and his wife coping with PTSD. Tell us how that song came about.
For a while, I’ve been startled with the amount of suicides in the veterans’ community. It’s not a song about a specific couple, but it’s something a lot of households have dealt with the last couple decades. And to be honest, those numbers haven’t improved that much. And I think I just wanted to say something about it; I mean the song doesn’t really offer any solutions, just more of an “it is what it is” situation. I have some friends and family who are veterans, too, so that influenced the song or at least wanting to make the song.
I’m a sucker for pretty harmony. Who’s the lady with the voice?
I have a couple of girl friends on the record. Abbey Philbrick has a band here in Oklahoma City – and they’re just amazing. And then Carter Sampson is a long-time buddy – I actually helped produce some of her records, way back – and she’s on “Castle Rock” and “A Little Good Music.” There are a lot of great girl artists here in Oklahoma City.
You just led me right into my next questions. “A Little Good Music,” may be my favorite cut. It’s full of good advice; what was its inspiration?
Uhhhh…my wife. (Chuckles) We have two kids, and sometimes life…well, it’s easy to get stressed out. I don’t know if there was a specific moment that inspired it, just the last nine years generally.
Tell me about the preacher raining down fire at the beginning of “Sleepin’ Easy,” and how they’re tied together. And I’m wondering if this is the first time Ambien has gotten a shout-out in a country song?
Hmmm. I don’t know. There’s probably something out there about it. But “Sleepin’ Easy,” too, incorporates being a parent and stressing out. Being a parent in today’s climate – politically, economically, all of that – is part of the stress in that song: Just trying to keep your head above water, and everybody seeming to need something from you. And [including the pastor at the beginning] wasn’t meant to be a slight, more an acknowledgment that if you go to church, you have to pay to attend, in most places.
That final cut on the album is where we hear the phrase “Castle Rock,” which I understand is somewhere you lived upon taking your leave of the church. Care to explain?
Yeah. My mom & dad split up when I was about 12, and I went to live with my mom in Castle Rock. And without going into too much detail, it was a crazy time in life for me and my two younger sisters. And I basically got to do whatever I wanted; there was definitely less focus and attention on the kids. For the first time in my life, I was doing stuff outside of a church building. Castle Rock was a time of change of me, so it was important to include some of those experiences in this group of songs.
With as crazy as the past couple years have been, have y’all had a chance to road-test any of these songs, and are there plans for a tour after the release?
Yeah, we’re in discussions with a pretty well-known booking agency right now, and we’ve got shows starting in February. And we’ve absolutely played these songs live and gotten miles out of them in many different places. But hopefully we’ll be able to add a bunch more dates really soon, and I’m definitely excited for that.
One of my favorite political/theological commentators recently joked that modern Evangelical services consist of “a Coldplay concert and a Ted talk.” As the sage Homer Simpson once observed of every good joke, “It’s funny because it’s true.” Put another way, as a former pastor of mine once said, “Music in most Baptist churches now follow the ‘747’ model: Seven verses, sung 47 times each.”
I’ve got a million of ‘em, folks.
I’m a “get off my lawn” Southern Baptist, and defiantly proud of it. And that’s why I love Brent Cobb’s And Now, Let’s Turn To Page…, his love letter to his, my and your youth, provided like him and me, you knew what it meant to be in church twice on Sundays plus Wednesday nights.
Esoteric? Sure. This may not be your thing, if you’re not from the Deep South. But for authentic country music fans of a certain bent – and Cobb gets his “country” honest – this album will move you viscerally. It’s been a good while since I could “have church” just by listening to a record, but Cobb has made a joyful noise in such an authentic way. It’s time to spread the good news.
In late November, we caught up with our fellow Georgian to talk faith, hymns, coincidences (spoiler: they don’t exist,) and meeting destiny at a clogging great aunt’s funeral.
-------
Hey, Kevin. It’s been a while, man.
About four years, best I can tell.
Yeah. Let’s do this!
This is the first “new” album I’ve listened to where I knew 90 percent of the lyrics ahead of time and found myself singing along involuntarily. A gospel record was on your checklist for a while, but something happened to move it up on the schedule. How about you let folks in on that?
Aight. Well, first of all, we’ve gotta make sure that it’s known as a Southern gospel album. (Laughs) I grew up with Southern gospel, and I grew up in Antioch Baptist Church, where we sang all of those songs. Of course back then it was just with piano and congregation. But I always had it in the back of my mind that that I would do a gospel record, because all my heroes did it: Johnny Cash, Elvis…Willie Nelson still closes out his shows with gospel songs.
But then last year, my son and I got T-boned at this little intersection, a four-way stop I’ve been going through my whole life – on the way to my grandparents’ house. And it’s really rural, a lot of Chinaberry trees, plus it’s in July so everything’s in bloom. And I did my best to look, but it was timed so this guy in a little Honda Civic was in my blind spot. He’s not from the area and didn’t see the stop sign, so he hit me full-on.
My son was right behind me, and we got hit on the driver’s side of the truck. He was okay; I broke my collarbone. So that accident really hurried the making of a Southern gospel album along.
And here’s what crazy about that story, too, that sort of relates: The first thing that I found when I was cleaning out my truck after the wreck was a Rosary that a priest had given me years ago on a Jamey Johnson tour. The necklace was slung way up on the other corner of the dashboard, and I found the cross between my seat and my son’s. But that whole situation’s what made me go ahead and record this album.
By my Baptist count, there’s just one “invitation hymn” on the record, “Softly and Tenderly.” I imagine we’ve both sat (stood, more accurately) through altar calls set to this hymn – and others – that cycled through all the verses multiple times….
“…if anybody’s feelin’ it in their heart today, come on down.”
…exactly! That said, now seems a good time to ask about when you “walked the aisle.”
I was young when I walked the aisle. I was ten years old when I got baptized. It’s funny you ask about that. We played a show down here Saturday, and one of the guys I got baptized with, his daughter was at the show and we talked about that.
When you’re young, you don’t really know about the world, but I just thought Jesus was really cool. The kids I grew up with, we went to Royal Ambassadors and all the different activities. In fact, when I was little – before I started sinning when I was about 16 or 17 – I thought I might want to be a preacher. Obviously, I didn’t go down that path. But yeah, I got saved and walked the aisle when I was ten.
Is this album more spiritual than nostalgic to you? The other way around, or a bit of both?
It’s definitely both. It’s what I grew up with, as I was saying. But I sing these songs…I think I sing them better than I sing my own songs. I think it makes you sing different. My grandaddy, he led the singing at our church, but he wasn’t really a singer. But when he got up there to lead the songs, he could sing. I guess it was because he was singing those songs. And it’s the same way for me. I don’t try to push my beliefs on anybody, but it’s definitely spiritual on a personal level. But also nostalgic.
As we were setting up this interview, I mentioned that when my grandaddy died in 2000, my cousin and I sang “The Old Rugged Cross” at his funeral, and that it was fifteen years or so before I heard that hymn sung in a church house. You said that you’d had a similar experience that we could talk about. Now’s the time.
I actually have two stories about that.
My grandaddy’s mother died when he was in his teens. Or he might have been in his twenties. Regardless, after the night she died, he and all his siblings woke up singing “The Old Rugged Cross.” The next day when they found out about their mom, they got to talking and every one of them said they woke up singing that song. “That was always her favorite hymn,” one said, and then each of them said the same thing. So, that song has always had a real personal connection to our family.
So, when my grandaddy passed away, April 4, 2012, me and my cousin were sitting on the front pew. And the piano was right there, and we had a guest singer who was gonna come in and sing that hymn because it was his favorite, too. The hymnal was already open, and every so often the breeze from the fan would turn a page. And when the singer sat down at the piano, it was opened to “The Old Rugged Cross.” He didn’t have to flip a page.
Wow…
Isn’t that somethin’?
And Now, Let’s Turn to Page…
That’s right!
Let’s talk about some of the arrangements. The bulk of these hymns are traditional and acoustic, but a couple have distinct interpretations. “Are You Washed in the Blood,” with its thumping bass line strikes me as a Southern white boy’s funk-infused reimagining of some the great black gospel tracks. On “When It’s My Time,” the band also lets it fly. Even “Softly and Tenderly” ends with a sweet guitar solo. How did you and Dave decide when and where to step the sound up?
Well, here’s the deal. I call it a “Southern gospel” album because of the gospel, one, but also for Southern rock. All the music I grew up with was born of Southern gospel. Lynyrd Skynyrd – a huge influence of mine, you know? All the soul music – Otis Redding and all those greats – Southern gospel is all it is. So, for it to be a true Southern gospel album, I wanted to infuse all the sounds of the South that make the South so great. And Dave also does, you know?
So, when we first went in, I wanted to make a Jerry Lee Lewis-type country album, but with gospel songs. But when we got to playin’, the first song where we really found the sound – and it wasn’t really intentional – was “Just A Closer Walk With Thee.” We hit that groove there – kinda laid-back, kinda Southern and funky – and we realized this album wasn’t gonna take the Jerry Lee Lewis approach. (Laughs) And we just kept findin’ stuff like that.
Like on “We Shall Rise,” that was the last song we recorded. My great aunt Christine, she was Pentecostal. That was Dave’s grandmother, and she would come every so often and guest sing at our church. And since she was Pentecostal, she didn’t believe in instruments, so she’d come in with her clogs…
(Giggling)
…Man, I know. But she’d have her hymnal while she was clogging, singing “We Shall Rise” in a good a Capella, and she would sing it at the top of her lungs. What’s also a coincidence – I don’t know if I believe in coincidences – is that it was the first single of the album, with no influence by me; that was my radio team. And her funeral is where I met Dave for the first time. I was a pallbearer at her funeral.
Wow.
Pretty wild, huh?
Does Cousin have a Grammy winner in the “Gospel” category yet? Asking for a friend.
Dude, he’s got about every other one, doesn’t he? (Laughs) I don’t know, man. Here’s hoping. Who knows?
You’re about to head out to the United Kingdom for a tour. Two-part question: (1) Is there one cut from this record you might consider springing on a British audience; and, (2) What’s the first thing you look forward to on your return?
Well, I’m sure I’ll play “When It’s My Time” when I’m over there. It’s not purely a gospel song, but I think a lot of people can relate to it. When I get back, I’m looking forward to flying straight to Texas and joining Robert Earl Keen on the “Merry Christmas From The Family” tour. That’s just a dream tour for me and I can’t believe I’m on it; he’s been a major influence of mine since I was a teenager.
And I haven’t had a whole lot of time off. I just got off the road with Nikki Lane and Adam Hood, so I am looking forward to being at home for just a little stretch, anyway.
If FTM had a “follow-up album of the year” category, this one would win it unanimously. Stretching his legs from the Bakersfield love fest that was Rollin’ On, Daniel – by focusing on the simple things in life – has broadened his focus, showing a grateful audience just how great country music can be. He’s made a great leap forward with his vocals and songwriting, and those were already high bars. There’s not a weak cut on this album.
2. James McMurtry – The Horses And The Hounds
He’s just the Godfather.
I picture a room full of accomplished singer-songwriters trading shop talk when McMurtry walks in, and all of a sudden you can hear a pin drop. It’s been six years since his last album, and just like last time, there’s an effortless feel to this magnificent work of art. McMurtry combines imagery, geography and unrequited love better than Guy Clark, Lyle Lovett or Townes. I literally listened to “Canola Fields” seven times before moving on to the second cut. It’s on par with “Tangled Up In Blue.”
3. Mike & The Moonpies – One To Grow On
I’ll be shocked if this one doesn’t win the FTM overall prize. It’s merely flawless.
4. Charles Wesley Godwin – How The Mighty Fall
Speaking of great follow-ups, Geez. Seneca, Godwin’s stellar breakout record from 2019, was just a warmup, it seems, for his 2021 offering. There’s an intensity to his writing this time around that solidifies a rightful claim to be mentioned in the same breath as his Appalachian brethren: Simpson and Childers.
5. Jeremy Pinnell – Goodbye L.A.
One of the best pure country albums of the year. Ties of Blood and Affection in 2017 was a phenomenal record, but with a solid assist from quirky producer Jonathan Tyler, Pinnell has written his masterpiece. We should all give thanks that there’s a longer road in front of him than there is behind. And, who wants a monthly FTM Q & A with this jiu-jitsu practitioner on the intersection of mixed martial arts & country music?
6. Zach Schmidt – Raise A Banner
This was a record a long time in the making, but the Pittsburgh-born artist made the most of his time. Is it nice to walk into a studio with The 400 Unit for a backing band and Sadler Vaden producing? Sure. But this writing stands on its own, and even if You Don’t Know Zach Schmidt…you know the deal.
7. Blackberry Smoke – You Hear Georgia
Twenty years strong. Only a small handful of artists* can begin to make Southern rock like these guys. They’ve added some personnel to fill out the sound and become one of the darlings of the elite Yellowstone set-list crowd, but what you hear is what you get. “Hey Delilah,” one of many gems, is a love letter to Lowell George.
8. *Rob Leines – Blood, Sweat & Beers
This legit blue-collar rocker fronts a power trio turned up to ELEVEN, reminding the world and his Los Angeles environs of his proud Georgia roots. Skynyrd and CBD fans, step on up.
9. Tennessee Jet – South Dakota
A toned down follow-up to (my #1 in 2020) The Country gives the listener an even more intimate setting to sample this man of letters’ writing. “William Faulkner,” just like the author, indeed.
10. The High Hawks – The High Hawks
What started as a fun thing for a collection of jam/string band guys became a passion project – with tours to boot. Open, free and joyous, smart money says this ain’t a one-off.
11. Mac Leaphart – Music City Joke
Just outstanding writing that leaves folks wanting more.
