Jul 9, 2019
Jul 8, 2019
Jun 13, 2019
Jun 4, 2019
John Rich, who's more famous for being politically provocative over the last few years than writing or performing songs, has a new song out called "Shut Up About Politics." Well, that's pretty much like....
Florida-Georgia Line calling out people who use auto-tune
Justin Moore making fun of short people
Shooter Jennings making fun of short people
Kane Brown covering “Murder on Music Row”
Miranda Lambert coming out against violent lyrics
Dustin Lynch calling someone a sellout
Dustin Lynch having a clothing line called “Stay Country”
Chris Brown wearing a “Mean People Suck” t-shirt
Tracy Lawrence talking sh** about Chris Brown
Luke Bryan saying somebody should act their age
David Allan Coe complaining about a sub-par concert
The Bellamy Brothers being against mixing country and rap
A Beyonce fan calling someone obsessed
Jamey Johnson saying Chris Knight waits too long between album releases
Hank 3 telling someone to watch their mouth
Tim McGraw saying someone has a stupid looking hat
Mitchell Tenpenny calling Old Dominion creepy
Old Dominion calling Mitchell Tenpenny creepy
Zac Brown saying any song is embarrassing
May 31, 2019
Duff McKagan's Shooter Jennings-produced album Tenderness is out today.
May 23, 2019
Insane Clown Posse plans on releasing their entire catalog as country albums in 2019. There will be no changes or remixing done.
Shooter Jennings recently hit the big 4-0 which is a big deal since he was only 3 feet, 11 inches earlier in the year.
Due to him neglecting it while spending so much time on the road and at the beach, Kenny Chesney’s tractor is no longer considered sexy.
Zac Brown’s new rap song has reportedly coaxed hours of valuable information out of terrorists at Guantanamo Bay.
78% of all blacked out names in the Mueller Report were Steve Earle.
Famed Bigfoot hunter Eric Tipton has decided there isn’t enough challenge in looking for the elusive creature and now devotes his time to searching for women on the country music charts.
Jordan Davis’ beard is kind of like Samson’s hair in that it is hair on the head of someone who doesn’t sing country music.
John Rich was one of the crowd favorites at a recent Nashville songwriting expo after he was a last minute substitution for the scheduled janitor that called in sick.
Americana is sometimes called “country music for liberals” because much like liberalism, it proclaims gender equality but is mostly run by old white dudes.
Constantly posting on Facebook about his weight loss vitamins is why John Anderson is the black sheep of his family.
As a child, Russell Dickerson once got his head stuck in a toilet paper roll.
I have never heard “Old Town Road” and will remove the genitalia of the first person that changes that.
Kane Brown coming on country radio is the equivalent of the auto flushing toilet pulling the paper seat cover down the drain before you are seated.
Most of these are by Jeremy Harris; a few are by Trailer.
Mar 5, 2019
Feb 15, 2019
By Kevin Broughton
There’s a quiet, humble confidence to Charles Wesley Godwin. It’s like he almost knows he’s made a special record but can’t quite believe it. Maybe it’s because the 26-year-old West Virginian is relatively new to the guitar, let alone using it and his voice to make a living. There’s a determination in him, not just to succeed, but to prove to himself and his state and region that anything is possible.
Godwin paints a rich and honest portrayal of his homeland and its people with his debut album. Seneca is a moving snapshot of life and well-soiled roots in the Appalachian hills, a backdrop that has given birth to some of the most intelligent and hard-working people in the country.
Godwin’s voice is weighed down by the current condition of the world, but he doesn’t allow the tragedy, pain, or regret sour his view of life. That’s what makes him an exceptional storyteller; he employs his experiences into melodically profound and timeless compositions. “Seneca Creek,” a stunning ballad laced with both melancholy and hope, tells the tale of his grandparents and their courtship in the spring of 1949.
Another essential piece of his story, “Shrinks and Pills” exhibits a dry, sly humor and sees Godwin lament the roar of the open road in his ears and an unquenchable homesickness wedged deep in his bones. He misses the comfort of his homestead, but he wouldn’t have it any other way--heartache be damned. “Hardwood Floors” dazzles in the dim light of a local pub as he shares a tender embrace with his wife amidst the ho-hum of the crowd.
Godwin is quick to credit producer Al Torrence for the album’s balance, flow and continuity. And we’ll step way out on a limb here and suggest there’s collaborative potential that could reach the lofty heights of Jason Isbell and Dave Cobb. This record is that good.
The artist counts every day as a both a blessing and an opportunity, taking nothing for granted. This is a guy who would succeed in just about anything he attempted, and sees no reason why anybody else wouldn’t.
Grounded. Humble. Nice. Hopeful. Who wouldn’t want to spend time with Charles Godwin and talk about Big-12 football, Estonia, and Waylon’s drummer?
How did you and producer/engineer Al Torrence connect?
When I was playing with my old band, Union Sound Treaty, we made one album and that was comprised of my first batch of songs. Al worked those sessions as an engineer, and we were just really comfortable together. He’s a Berkley School of Music grad, and his knowledge of music is really impressive. We just worked well together. He’s put it all on the line the way I have, and I really like him.
A lot of these songs are easy to picture in an intimate setting, just you and a guitar, and I imagine that’s how you worked out a lot of them before recording. Some of them, though, like “The Last Bite” and “Sorry For The Wait,” have a really sweeping, big sound. Had you done those with a full band on the road, or were those arrangements put together in the studio?
It was done in the studio. It’s a setup I would love to take on the road, but I wouldn’t be able to do that unless I could pay everybody a living, know what I mean? But if the opportunity ever arises, everything on the album I’ll bring out on the road with me, without a doubt.
“Pour it On” is another one with a big, full feel to it, and “Windmill” of course. You have a pretty good balance of songs here of different arrangements. Was that a purposeful thing when you were picking which 13 songs would go on the album?
Neither he nor I were too concerned about the tempo; we just wanted to pick the songs that were related, sorta, to the theme of the album, which is my home. We wanted to stick to that, but I do think it is pretty well balanced.
There are a couple things in your bio one doesn’t see every day from a singer-songwriter. You hail from Morgantown, and actually tried to walk on the football team at WVU. What was that like?
Yeah, I love football and really love playing it, and I had always dreamed about playing football for West Virginia; I wanted just to go out and make a few plays for ‘em, if I could. And it’s something I tried really, really hard to do my first couple years of college. But, you know, I just wasn’t good enough. I didn’t have any delusions going into it and knew I probably wasn’t physically gifted enough to do it…
Were you a defensive back in high school? You look kinda like a safety.
I was an outside linebacker. I used to work out really hard. It was something that I didn’t have the natural ability for. I hadn’t started playing music yet, but up to that point nothing had come easily for me and I really wanted to try it.
|From Charles Wesley Godwin's Instagram|
Well, that’s just kind of a rarity, you know? “Aspiring Big-12 athlete” and “singer songwriter” aren’t terms usually heard in the same sentence; I’m trying to think…I think Ryan Bingham was a rodeo cowboy for a while…
(Laughs) Well, having the phrase “Big 12 athlete” anywhere near my name is probably not correct. I didn’t make the team, but I wanted to try it, and it was the first big dream in my life that didn’t come true.
And you picked up the guitar in earnest while studying abroad in Estonia of all places. What was your course of study that would send you to the Baltic region?
Yeah. That was interesting there, because WVU has a really good “study abroad” program, and I got the “Promise” scholarship because I was an in-state kid who had good grades in high school, and it covers your study overseas as well if you’re able to get a plane ticket. I was in the finance program, and there were only a few options where you could get your credits for study abroad. They partner with hundreds of universities, but only four of them had classes that I hadn’t taken yet that would go towards my degree: Hartfordshire, England; Hamburg, Germany; Hong Kong; and Tartu, Estonia. The last one sounded cool to me.
How long were you there, and it that where you really decided to dive into the music thing?
I was there six months, and by happenstance I started playing in front of people for the first time there. I played my first gigs there, and yeah, I kinda got spoiled there thinking, “Aw, this will be easy.” But that’s where I really got started, for sure, thinking I could be a musician. And when I graduated college I had it set in my mind that I was gonna keep going with it.
|Charles Wesley (Wikipedia)|
There was a pretty famous Methodist composer of hymns named Charles Wesley. Were you named for him?
Sort of. My grandfather was a Methodist preacher, Charles Godwin. So, I would say it’s 1A I was named after my granddad and 1B Charles Wesley. But yeah, I come from…well, on the Godwin side of the family we’re all Methodists. My granddad was a preacher, and then I also have an uncle and an aunt who are Methodist ministers.
I suppose the comparisons you’ve received to Tyler Childers and to a lesser extent Colter Wall are inevitable. Those guys came on the scene over the last couple years with a certain level of instant credibility. What do you think about the comparisons? Do you feel any kind of pressure there, or do you put any on yourself as a result of them?
I’ve heard some of those same things from people. I don’t put any pressure on myself; it’s certainly a hell of a compliment, to hear anybody say that I would remind them of either of those two. They’re both really good at what they do, really good songwriters. But yeah, I’ll take that compliment any day of the week. I believe in my work and I’m really proud of this album. If certain people want to categorize it along with those guys, I’m more than okay with that.
Your portrayal of coal country is certainly authentic and real, but not necessarily as dark as one might expect it to be. Appalachia has gotten its share of rough cultural PR over the years, but there’s an optimistic feel to this record. Were you pushing back a little bit?
Yeah. Yeah. I always have a tough time articulating this in conversation and I think it always comes out better in song. Home is what we make it, and there are a lot of smart, talented people in West Virginia. With the Internet, anybody can do anything, anywhere. There are a lot of opportunities.
I remember I was playing a show in Pineville, West Virginia in February of last year. I was sitting at the bar after the show, and this guy came up to me and said, “Man thanks for coming here and playing for us. Not many people come here, and people overlook us.” And I’m thinking Man, I’m not too good to play anywhere. And he was telling me that he works at the pizza shop up the road and that he just drinks after work and there’s nothing to do. All there is to do is drink and get into drugs. And I’m nodding my head, like, yeah, I know it’s rough. And I was staying in Bedford that night, and driving back to the hotel I kinda got mad.
It was one of those things where after the fact you think about what you should have said. And I got mad, and thought, you know what? That’s bullsh*t. I live out in the middle of nowhere, and I’m just trying to do the best I can. There are all kinds of people around the state, carpenters, whatever, who are just making it happen. And that guy could’ve done it, too. There’s plenty to do around there, if he’d just try. That’s where “Here In Eden” comes from.
It’s about making the best of where you are. And that’s the way I feel about West Virginia. There’s no reason nowadays that people can’t succeed if they’re willing to work at it. So yeah, I take the optimistic view. It’s not all doom and gloom. It’s not just drugs and opiates.
The record has already received wide critical acclaim. Do you get the sense that things will change in an appreciable way for you once it’s released? Or that maybe you’re about to become a much more widely known individual?
I really hope so. I can already tell there’s been a noticeable uptick in the attendance at shows. People can review it all they want, but unless it translates to people buying the music and coming to see me play, it doesn’t mean a whole lot. But it would give me a lot of relief if it were to work out and allow me to do this in a greater capacity, because what I’ve been doing the last couple years has been the definition of “the bottom,” and it’s been a hell of a grind.
You got a day job?
No. I’m all in on this.
You’ve already shared bills with some pretty impressive names: Childers, Shooter, Colter Wall, David Allen Coe. Was there a moment as you started doing that more and more that it sort of dawned on you that, “Yeah, this is something I’m really gonna do for a career?”
Um, I don’t think there’s been any show where I’ve opened for anybody that made me more confident that “this is gonna work out.” Every day it’s like a seesaw for me, where I question what it is I’m trying to do for a living. Some parts of the day it’s I got this, and other times it’s WHAT am I doing? I ask myself, “What are the chances you’ll be able to make a middle-class living playing music?” So I wouldn’t say that opening for any of those folks made me think this is gonna work out. I still don’t know if it’s gonna work out.
I will say that the coolest thing – of all the times I’ve opened for anybody – was after the Shooter Jennings show. He had Waymore’s Outlaws with him that night – some of the tour he takes his dad’s old band out with him. I got to talk to Richie Albright, who was Waylon’s drummer from WAY back in the beginning, when he was in Phoenix. Before he ever went to Nashville. I got to talk to Richie for about 30 minutes. And I was so happy about that. I’ll always have that. If this all goes away and music is something I only do for fun -- and like I said, I think about that every day – if it all goes to hell, I’ll always have the fact that I got to hang out and talk with Richie Albright. I wouldn’t want to offend him by saying “I touched a piece of history,” (laughs) but to get to interact with such an important figure in music history was really special.
Feb 7, 2019
Jan 25, 2019
Jan 8, 2019
Last one! I promise. ~Trailer
by Scott Colvin
1. Larkin Poe – Venom & Faith
Rebecca and Megan Lovell (formerly of the bluegrass band The Lovell Sisters with older sister Jessica) are mostly “known” as touring musicians for the likes of Kristian Bush and Elvis Costello…among others. On their fourth full-length album, the sisters absolutely hit the sublime with their powerful brand of roots rock and blues. Rebecca’s sultry and soulful vocals blend perfectly with Megan’s hot bluesy slide guitar licks for one of the finest albums in recent memory.
2. Brandi Carlile – By The Way, I Forgive You
Brandi’s finest album since The Story (which will always be in my Top 10 of all-time). “The Joke” is simply gorgeous and a song of the year contender. This Dave Cobb produced platter got some serious Grammy nom love and for good reason.
3. Jamie Lin Wilson – Jumping Over Rocks
4. Whitey Morgan and the 78s – Hard Times and White Lines
5. Lindi Ortega - Liberty
6. Joshua Hedley – Mr. Jukebox
7. Ashley McBryde – Girl Going Nowhere
8. Superchunk – What a Time to Be Alive
9. Shooter Jennings – Shooter
10. Blackberry Smoke – Find a Light
11. Sarah Shook & the Disarmers – Years
It’s not often I can look to my hometown for music pride. Let’s be honest, until Sarah Shook came around Foreigner’s Lou Gramm might be Rochester, NY’s most notable artist (C’Mon, admit it, “Jukebox Hero” and “Urgent” were freaking awesome). Shook is a total badass and this album proves it.
12. Kacey Musgraves – Golden Hour
13. Dillon Carmichael – Hell on an Angel
14. Eric Church – Desperate Man
15. I’m With Her – See You Around
16. Muncie Girls – Fixed Ideals
17. Thunderpussy – S/T
This female foursome delivers with some serious 70s rock goodness. To be honest their debut EP Greatest Tits was a tighter effort, but since those songs are all on this LP it makes my list.
18. Rhett Miller – The Messenger
19. Cody Jinks - Lifers
20. Holly Golightly – Do the Get Along
Dec 13, 2018
Our Top 25 Albums of 2018 were voted on by all contributors (including 2 new ones) again this year: Kelcy Salisbury, Robert Dean, Kevin Broughton, Jeremy Harris, Trailer (me), and Matthew Martin
(with friend Chad as a tiebreaker). We welcomed Kasey Anderson and Scott Colvin as first time voters. Today, we reveal numbers 11-25 of our favorites and tomorrow will count down the top 10!
24. Handsome Jack - Everything's Gonna Be Alright
The best rock ‘n’ roll album of 2018, from a power trio in Buffalo, N.Y. The Robinson bros. might have killed The Black Crowes, but the spirit of the band breathes through these guys. ~Kevin Broughton
23. (tie) Larkin Poe - Venom and Faith
Rebecca and Megan Lovell (formerly of the bluegrass band The Lovell Sisters with older sister Jessica) are mostly “known” as touring musicians for the likes of Kristian Bush and Elvis Costello…among others. On their fourth full-length album, the sisters absolutely hit the sublime with their powerful brand of roots rock and blues. Rebecca’s sultry and soulful vocals blend perfectly with Megan’s hot bluesy slide guitar licks for one of the finest albums in recent memory. ~Scott Colvin
23. (tie) Western Centuries - Songs From the Deluge
Great musicianship from the closest thing to a country super-group 2018 has seen. These guys are all heavily grounded in bluegrass, yet this album synthesizes all the best parts of American roots music. Come for the three-headed monster of vocals and songwriting, stay for the pedal steel. ~KB
22. Amanda Shires - To the Sunset
More than a decade into her solo career, Shires has established herself as one of the truly great songwriters and instrumentalists of her generation. With To the Sunset - an album that is by turns plaintive, unbridled, and fragile - Shires made what is, at least to this point, the album of her career. Calling it a "Rock" record or an "Americana" record is reductive; To the Sunset is an Amanda Shires record and, at this point, she's good enough to be her own genre. ~Kasey Anderson
21. Lincoln Durham - And Into Heaven Came the Night
20. High on Fire - Electric Messiah
Is there any project Matt Pike is involved with that sucks? Pretty sure that’s impossible. Check out "Sanctioned Annihilation" & "Drowning Dog." ~Kelcy Salisbury
19. Sleep - The Sciences
The Sciences is one of the year’s best records and moves beyond, “good follow up to Dopesmoker,” and places Sleep as the undisputed heirs to the throne of Black Sabbath. The Sciences is not only a neck breaking, sludgy love song to the universe, it’s a poem to the mysteries of faith, but it’s also a masterpiece. ~Robert Dean
18. Blackberry Smoke - Find a Light
These guys are working hard. Consecutive years with top-flight albums, they retain their Southern rock identity without being chained to it. This is an all-American band. ~KB
17. Great Peacock - Gran Pavo Real
I've been a fan of Great Peacock for a few years now and after their last album, I was excited to see where they would go. As I would go to shows over the next few years, it became clear they were going to go in a more electric direction. And, they absolutely did. This album is a rocker full of the harmonies and introspective lyrics you've come to expect. This is the one you reach for on Saturday night around midnight. ~Matthew Martin
16. John Prine - The Tree of Forgiveness
People are always naming "greatest living songwriters" like John Prine isn't still teaching a masterclass every time he drops new music. Admittedly, that isn't as frequent as in the past, but on The Tree of Forgiveness, Prine reminds us why he's the undisputed. Tuneful, insightful, and bright, this isn't a late-life woe-is-me dirge-fest like many elder statesmen and women give us; this is prime Prine. ~Trailer
15. Caleb Caudle - Crushed Coins
Caudle has been pumping out perfect country songs for a while now. On Crushed Coins, Caudle hits his full stride. These songs are the best set of songs he's put out. The music and production are absolutely suited for his voice and his songs. "NYC In The Rain" is a perfect song and a perfect Caleb Caudle song. I don't think there's anyone else I can imagine singing this song other than Caudle. If you haven't checked out his work, this album is the one to start with. It's Caudle at his best. ~MM
14. Ashley McBryde - Girl Going Nowhere
The truth: Ashley McBryde doesn't fit the boring sonic pastiche that is mainstream country radio. Her songs are too good, her voice too unique. She deserves airplay and stardom though, and I hope she's one of the new leaders to push the door down. Girl Going Nowhere is a statement of being, filled with catchy and well-crafted songs. "Tired of Being Happy" is an absolute gem. ~Trailer
13. Brent Cobb - Providence Canyon
A great follow-up to 2016’s “Shine On Rainy Day.” The last three songs of that record were swampy and a little menacing, a thread woven through this album, particularly on “If I Don’t See Ya’” and “.30-06,” with their bad-boy Skynyrd feel. But when I hear “King of Alabama,” I’ll always remember the one time I got to see a then-fledgling musician, Wayne Mills. It was in Tuscaloosa in 2002, the night before heavy underdog Auburn beat Alabama 17-7. I was blown away then by the guy’s talent, and to this day I regret I never saw him again. No one that night or any other would ever dream of his fate: “It was a friend who took him from his family.” Cobb has done Mills fitting memorial, and made another great album. ~KB
12. Sarah Shook & The Disarmers - Years
It’s not often I can look to my hometown for musical pride. Let’s be honest, until Sarah Shook came around, Foreigner’s Lou Gramm might be Rochester, NY’s most notable artist (C’Mon, admit it, “Jukebox Hero” and “Urgent” were freaking awesome). Shook is a total badass and this album proves it. ~SC
11. Shooter Jennings - Shooter
Shooter is a portrait of a man who’s come to terms with his abilities, goals, and what he’s after. You can’t write a bunch of feel-good tunes that go hard with the beers, without a sense of purpose and humility …otherwise it comes off contrived and douchey, AKA most of the garbage pop country radio peddles. ~RD
Albums beyond the top 25 that appeared on multiple ballots:
Janelle Monae - Dirty Computer
Hawks and Doves - From a White Hotel
Colter Wall - Songs of the Plains
Vince Staples - FM!
Eric Church - Desperate Man
JP Harris - Sometimes Dogs Bark at Nothing
Mike & the Moonpies - Steak Night at the Prairie Rose
Buffalo Gospel - On the First Bell
Pusha T - Daytona
Dec 6, 2018
When you find a copy of Honky Tonk Heroes in perfect condition in an antiques store
♪♫ Are you still taking them pills?
Are they still giving you thrills?♪♫
When a Florida-Georgia Line fan tries to talk to me
What happens when a really country single gets sent to country radio
At the Blackberry Smoke show like...
When your passenger requests some Kane Brown
♪♫ Roll the stone away, it's independence day♪♫
♪♫ Don't call me an outlaw no,
I'm a motherf***ing gunslinger♪♫
"Maybe women just aren't putting out good enough songs to get played on country radio"