Susan Gibson To Release New Album, The Hard Stuff promoted by Broken Jukebox.


Folk : Americana : Country
Release Date: October 4th
Radio Add Date : September 23rd
Facebook : Twitter

Hear “The Hard Stuff” on Wide Open Country

“When I listen to a Susan Gibson song, I know she is sharing a piece if her heart and soul with me. Susan writes about true stories in her life. She writes with courage puts forth her message with powerful and heartfelt guitar and vocals. It only takes a few lines of her recorded songs for me to recognize that “Susan Sound”
Her new record has that for sure. Enjoy…..”

-Lloyd Maines-  Music producer and musician.



Wimberley, TX. Take it from Susan Gibson: “Nothing lifts a heavy heart like some elbow grease and a funny bone.” That’s the conclusion that the award-winning singer-songwriter reaches on the title track to her long-awaited new album, The Hard Stuff (due out Oct. 4 on Gibson’s own For the Records), and it may be the best bit of practical advice that she’s put to music since, well … “Check the oil.”

That “oil” line, a father’s reminder to a young daughter heading out on her own in pursuit of “Wide Open Spaces,” has been sung along to by millions of fans around the world ever since the Dixie Chicks recorded Gibson’s song as the title track to their major-label debut back in 1998. It became one of the biggest songs in modern country music history, but Gibson wasn’t aiming for a “hit” when she wrote it some 28 years ago. She was fresh out of college and had yet to officially embark on her professional music career, let alone to have figured out the basics of what she calls the “craft part” of songwriting. All she had to work with at the time, sitting at her parents’ kitchen table in Amarillo, Texas, and wanting to tell “an honest story with some universal truths,” was “sincerity and instinct.” 

Three decades, thousands of miles and countless songs and performances (both as a member of the ’90s Americana group the Groobees and as a successful solo act) down the road, Gibson is now recognized by fans, critics, and peers alike as a master troubadour who very much has the “craft part” of her art down cold. But check under the hood of The Hard Stuff, and it’s clear her songwriting engine still runs on pure emotional honesty. The only difference, really, is the mileage: Instead of reflecting the carefree exuberance of youth, these are the songs of a life-wizened, full-grown woman whose indomitable spirit springs not from untested naivety, but from hardened and tempered choice. 

The Hard Stuff is Gibson’s seventh release as a solo artist and her first full-length album since 2011’s Tight Rope. Much like the stop-gap EP that preceded it, 2016’s Remember Who You Are, it’s a record deeply rooted in grief, as Gibson wrote many of the songs while in the midst of coming to terms with the death of first one parent and then the other in the span of four years, a time during which she admits her career became far less of a priority to her than her family. But it was that very period of slowing down for emotional recalibration that ultimately pulled her out of the dark and back into the light, resulting in the most life-affirming and musically adventurous recording of her career. 

Producer Andres Moran (of the Belle Sounds) had a lot to do with helping Gibson expand her horizons at Austin’s Congress House Studio. “I’m a fan of the Belle Sounds, but Andres was a bit of an unknown to me to going into this, and I didn’t really know what he was going to do,” Gibson admits. “But I liked what I did know about him. The thing is, I’ve actually never used the same producer twice, which I think sometimes makes it hard for me to measure my growth or compare one album to the rest and go, ‘Was that forward or backwards?’ But for this one, I knew that I definitely wanted to stretch a bit more than usual. I’ve been very inspired lately by my friend Jana Pochop, who’s a brave writer and just the most unassuming pop star you could ever meet, but also a really good study in how to trust a collaborator enough to let them do their thing, instead of just what you might want them to do. She’s been getting some really good stuff that way, just by not putting limitations on herself in the studio or being tied to her acoustic guitar.”

Moran took Gibson’s “no limits” directive and ran with it. Although still unmistakably a Susan Gibson album, with her warm, friendly rasp of a voice front and center in the mix and an abundance of buoyant melodies brightening even the darkest corners (with a special assist from her beloved banjo on the bittersweet closer, “8×10”), the arrangements throughout The Hard Stuff are full of surprises. Rife with bursts of pop elan, splashes of funk (horns!), and even flirty hints of jazz, it’s a bright, technicolor palette delightfully unfettered by the constraints of her usually solo acoustic live shows. But far from seeming even remotely out of her element, Gibson embraces it all with arms and heart wide open, delivering her most spirited performances on record to date , and 10 of the best songs of her career, each one illuminated by her refreshingly clear-eyed perspectives on life, love, work, and yes, true to album’s title, even death.

Which brings us back to that line about nothing lifting a heavy heart like “some elbow grease and a funny bone”: the key point being, it takes both. And of course, a little time helps, too.

“I feel like Remember Who You Are came out of a lot of really raw and immediate, direct grief,” she says, recalling the EP she made not long after her mother’s death and her focus at the time on “the ache of loss and the balm of letting go.” A lot of that ache lingers still on The Hard Stuff, compounded of course by the loss of a second parent, but the sense of healing is palpable. But the difference with this batch of songs is, they’re not scabs anymore they’re starting to become scars: scars that you can talk about and tell stories about, and even find humor in. I don’t think it’s a particularly ‘humorous’ record, but I do feel like the common thread in a lot of the songs is me trying to not take myself so seriously.” 

To wit, in the title track, inspired by conversations with her concerned older sister (and an old John Wayne quote from the movie The Sands of Iwo Jima), Gibson reminds herself that, “if you’re gonna be stupid, you better be tough,” while in “The Big Game,” she baits a light-hearted account of frustrated desire with the winking tease, “Why you gotta make it so hard / for me to be easy?” 

A little bit of that kind of playfulness goes a long way; but its the elbow grease  and hard-earned experience  that ultimately does the heaviest lifting. In the opening “Imaginary Lines,” co-written with her aforementioned friend Jana Pochop, Gibson shifts seamlessly from a country mouse in the big city anecdote (and an account of a too-close-for-comfort encounter with a contract-waving industry business suit) to an exhilarating chorus reaffirming her commitment to the independent music back roads less traveled but traveled hard and with a joyous sense of purpose. The extended metaphors in “Diagnostic Heart” and “Hurricane” hit like brutally honest, tough-love therapy sessions, and the achingly beautiful “Wildflowers in the Weeds” ,ostensibly written for her friend and fellow independent Texas songwriter, Terri Hendrix, but by Gibson’s candid admission just as much about herself  is a portrait of courage and resilience painted in rich hues of empathy and bittersweet truth. And even when Gibson gets around to directly singing about how much she misses her mother (in “8×10”), or about the heartbreak of watching her elderly father struggle just to keep up in the world as a widower in the final years of his own life, her sadness is counterbalanced with equal measures of deeply felt gratitude for the memories she shared with them and the wisdom she learned from them. As she sings in “Antiques,” “Getting older ain’t for the weak / it only happens to the strongest ones.”

That’s the kind of “hard stuff” that The Hard Stuff is really about. Not the kind that breaks, but the kind that endures. 

1. Imaginary Lines (4:12)
2. Antiques (4:07)
3. The Hard Stuff (3:48)
4. Lookin’ For A Fight (3:19)
5. The Big Game (3:41)
6. Diagnostic Heart (4:06)
7. 2 Fake IDs (4:21)
8. Hurricane (3:52)
9. Wildflowers In The Weeds (3:35)
10. 8 X 10 (4:05)

All FCC Clean
Focus Tracks : 1, 3, 8, 9

All Songs by Susan Gibson except:
“Imaginary Lines” – Susan Gibson, Jana Pochop, Michael Scwartz

Heather Whitney Is “Moving On” With New Album And MTS Management Group

Heather Whitney Is “Moving On” With New Album And MTS Management Group

Texas-based country singer-songwriter, Heather Whitney has signed with MTS Management Group. Her album, “Moving On” features her latest single, “Movin On Song.”

What gave me strength to complete my album, was knowing that I was not alone, & that someone else out there would hear these songs, relate to them, and possibly gain some healing like I did. ”

— Heather Whitney

JASPER, TEXAS, UNITED STATES, April 24, 2018 — MTS Management Group is happy to announce Heather Whitney as joined the “MTS Family.” Heather has signed on with MTS for publicity and promotions of her album, “Moving On,” including her latest single, “Movin’ On Song,” and her video, “Shut Up and Dance.” The video was produced by Cherish Lee, daughter of country legend Johnny Lee and “Dallas” vixen, Charlene Tilton.

“Moving on” is full of love, heartbreak, and… moving on. This album is everything Heather has lived through, felt, and overcome, while in the studio. “Just because you’re working towards your dreams, doesn’t mean that the world stops spinning, and hardships won’t find you,” says Heather. “What gave me strength to complete my album, was knowing that I was not alone, & that someone else out there would hear these songs, relate to them, and possibly gain some healing like I did. We have to stick together.”

“Moving On” is available worldwide, on all major digital music outlets.

ABOUT HEATHER WHITNEY: Singer-Songwriter, Heather Whitney comes from an itty-bitty, one-red-light town deep in the pines of Southeast Texas, where the mosquitoes are big, but Heather’s love for music is bigger. Heather spent the last year flying back and forth from Newton, TX to Nashville, TN, writing, hand-picking songs for the album, and recording with producer, Buddy Hyatt.

Official Website: http://www.Heatherwhitneymusic.com
Facebook: http://www.facebook.com/heatherwhitneymusic
Instagram: @heatherwhitneymusic
Spotify: https://open.spotify.com/album/29MOLiexy3LJ32IFZIimnG

The Shires – Accidentally On Purpose now out.

The Shires have given fans quite the exciting lead up to their third studio album Accidentally On Purpose. Causing quite the concern when a so-called intern accidentally sent out an email to fans which was intended for Ben and Crissie for their approval on the album artwork, fans started tweeting the duo to warn them that the information had leaked. However, many realised that this email was in fact sent    Accidentally On Purpose    and we all felt rather silly. Little stunts like this have been smartly placed throughout the promotion of the album which has not only got people talking but everyone excited for new music.

The Shires debut single off AOP Guilty shows a really exciting fresh new sound to The Shires in a more upbeat US Country pop way and it is clear that their time in Nashville has had a heavy influence on their new sound. Echo also has the same qualities as Guilty and could easily be a single. The radio friendly tune is fun and easy to sing along to and will be one of those great live music, crowd sing-a-long moments.

Best know for their powerful and captivating ballads, AOP still captures the beauty and emotion of their signature sounding ballads in songs such as Speechless which also keeps the piano driven melody that they often use and beautifully so. Crissie has found a more believable emotion in her singing now which tells a story in itself. What is also noticeable is how more controlled Crissie   s vocals are     whilst she has always had an undeniably sensational voice, this album shows that she has taken a lot more care in her singing and it seems less forceful.

Experience is key and this is proven throughout AOP. Ben and Crissie   s vocals have really found each other now and are more than just two individuals singing together, The Shires have become a solid duo who have learned a lot along the way to their success and have clearly come to understand each other extremely well vocally as well as personally.

Other ballads are songs such as Strangers which is more of an emotional power ballad with a mid tempo beat and Loving You Too Long which again is piano driven like many of their ballads are. Loving You Too Long is very much in the direction of past songs such as Black and White.

The Hard Way which kick starts the album is rather exciting and really infectious and reminiscent to artists such as Gloriana and Lady Antebellum. A song that would work very well in the US and should be all over country radio     this is a much more fast paced upbeat song than we usually hear from The Shires and is a direction that I am really enjoying.

Title track Accidentally on Purpose, which is said to be influenced by Crissie nearly missing her flight home from Nashville accidentally on purpose to stay with someone she had met is a very pop infused track, the song also holds quite a mature sound with a strong countrified melody.

A more mid tempo/ballad style comes in the form of Sleepwalk which is gorgeous and strong country sounding song where the chorus in particular really shows off Crissie   s vocal ability. This track has quite a young feel to it and a movie soundtrack vibe.

Stay The Night is also a mid tempo tune with great vocal delivery from Ben. The chorus has a very anthemic feel to it and is likely going to be one of those songs that live, will likely be towards the end of the set, if not the very end of the set to get the crowd singing back in the chorus where it has a very collective way about it.

Ahead of The Storm has a more folk-country sound which is very captivating. The song has an orchestral feel and is quite atmospheric. Probably one of my favourite tracks.

Continuing with the folk theme, River of Love holds an element of folk-country but in a lot more upbeat pop way and again has a very US country way to it which seems to be working well for The Shires and I don   t think it will be long before they crack America.

World Without You touches on the youthful side of their sound again and screams US country radio.

There really is no bad song on the album, no cheesey tunes and proves how The Shires are here to stay and are growing from strength to strength. Ben has always been such a gifted songwriter and works incredibly hard to deliver the best possible results which really shows on this album. I am thoroughly Impressed with AOP and think it is their best work yet. A good use of typical country music instruments have been used on this album which gives the album a lot more oomph and places them in a more solid position within the country music genre.

The future is incredibly bright for The Shires and they will not only dominate the UK country scene but will overflow into the mainstream too, especially if they continue down this route.

AOP holds all the best qualities of The Shires best sounds blended with the strongest of US Country pop delivering an overall fantastic album that will appeal to a wide variety of music lovers.

savingcountrymusic.com posts geat review for Jason Aldean – Rearview Town

Couldn’t resist the temptation to copy/paste this cracker of a review.

So here we go again. Another new Jason Aldean album, and another machine gunning of blistering arena rock guitars, braggadocios rural boy aphorisms, self-aggrandizing affirmations of what a badass he is, with very little substance or sincerity delivered between the lines to find enriching. For 15 songs it is relentless, with one of the few saving graces being that no single track stretches over 3 1/2 minutes, and once you’ve heard one, you’ve pretty much heard them all so you can skip around. One after another, it’s low-pitched verses about how hard or badass it is being from the country, leading into doubled up choruses that rise as predictably as the sun into massive Richie Sambora-style cacophonous lyrical and sonic platitudes.

Among other fair criticisms, Jason Aldean has turned in a record that challenges the once thought unattainable achievement of matching Chris Young for the most formulaic and creatively-static “country” music release in history. The guitars are loud, and the drums are punishing, one song after another. At this point, a Jason Aldean record is little more than a collection of new material for him to parade out at live arena shows. Want to know why rock is dead? It’s not just because acts like Limp Bizkit and Nickelback killed it. It’s because Jason Aldean and other arena rockers posing as country acts infiltrated the space, corporatizing and homogenizing it for Music Row’s devices.

Jason Aldean fans don’t listen to records as cohesive works encapsulating the creative muse an artist is immersed in at a given point in his or her career. It’s basically a merch play to hopefully get autographed, and a way to catalog the current radio singles. One new wrinkle to the material on Rearview Town is that Jason Aldean now has taken electronic drum beats and other digitally-produced enhancements and interwoven them with the live instrumentation. The rock drums are still there, but to keep up with mainstream country trends, they add in computerized ticks for that additional over-the-top texturing and busy-ness. It’s all just a mash of sounds coming at you, including in some songs these strange feminine (or synthesized) sighs and calls like something you would hear in the soundtrack of a 90’s-era war strategy RPG or 1st-person shooter game. Jason Aldean is the Vin Diesel of music.

And to top it all off, Aldean also re-introduces the always-polarizing element of rapping in certain songs. The purveyor of the first mainstream country rap hit “Dirt Road Anthem” returns to this approach in what will likely be a radio single, “Gettin’ Warmed Up,” and in other places.

But let’s also give Jason Aldean some due credit. One of the reasons he’s so consistent throughout this record and throughout his career is because he knows what he does well, and sticks to his guns. And yes, he does do what he sets out to accomplish very well. You listen to a Jason Aldean record or see him in concert, the blood will get pumping. He’s singing to the “work hard, play hard” crowd who busts their ass at jobs they hate all week, and want artists like Jason Aldean to help them unwind and swell with pride, and he delivers.

The other consistency in Aldean’s career is his slightly deeper understanding of the rural dwelling condition compared to some of his other pop country contemporaries. Where others love to portray country towns as a Candyland of bonfires, beer, and babes hanging out by the lake all day, Aldean often speaks to the forgotten nature of America’s farm towns, and the hard-fought pride furrowing the brow of the blue collar worker. In the title track of Rearview Town written by Kelley Lovelace, Bobby Pinson, and Neil Thrasher, Aldean sings of a frustrated rural dweller, heartbroken and out of dreams, not just demoralized by the disappearance of his hometown, but further depressed that he’s helping the statistical slide by deciding to leave himself.

Shoving the incredible amount of filler on this record aside, “Rearview Town” is one of a few more interesting moments on this record. So is the first single “You Make It Easy.” It also bucks the trend of sameness with its 6/8 timing, even though the lyrics are pretty stock. “Better At Being Who I Am” written by Casey Beathard, Wendell Mobley, and Neil Thrasher also speaks to something deeper, and something relevant to this record, to Aldean’s life, and to the pressures he’s facing through busybody journalists to speak out about certain things since it was he who was on the stage when the Harvest 91 Festival massacre took place in Las Vegas.

Jason Aldean may be as shallow as a kiddie pool, but it’s hard to portray him as not authentic to himself. And though his consistency is definitely a curse on this record and the creative assessment of his career, it’s also the reason Aldean has found commercial success, and a connection with his fans. They don’t want him out there crying crocodile tears, they want him helping them forget the problems of today for an hour or two, and to help recharge the batteries for another hard fought week.

Another point of intrigue on the record is Aldean’s duet with Miranda Lambert, “Drowns The Whiskey.” Though it might be a slight step up for Jason Aldean, and maybe not the slide some Miranda fans were worried about when it was first announced, the song is still an electronic drums-driven mid-tempo formulaic effort easy to forget, despite the steel guitar. How many times has this song’s theme been done, both in the mainstream and in independent circles? At least Aldean is dueting with a woman in country as opposed to using the opportunity to highlight a pop star like many of his country radio buddies.

Where some recent radio singles from mainstream stars have been a pleasant surprise, including Jason Aldean’s okay “You Make It Easy,” and some recent mainstream albums are at least showing a step in the right direction, you get just about what you expect from Aldean on Rearview Town, with the dogged consistency possibly being the most remarkable wrinkle. Rearview Town would be disappointing if you expected more from him, but you don’t. Because if we’ve learned anything over the years that you can count on, it’s Jason Aldean to be Jason Aldean.

Fine songs come one after the other on Doug Adkins new album.

Dougs new album has everything a country/ americana album needs. Small Montana towns,Heros Of The Lost Highway,Dirt Roads and Fence Lines Never Ending and of course Not Enough Whiskey.
It also has wonderful musicians, crinkly crackly gravelly voices and excellent production. Oh and the songwriting on Doug’s 11th album is high-calibre.

After spending more than a decade touring Europe Doug hasnt lost his Montana accent or his memory as the album is almost a “auto-Biography” of life in Montana.
To be released on 30 April I have had the pleasure to have had a copy to play on the radio for a few weeks now in fact the album is that good we made it Album of the Month for March. Hopefully by the time of release “Dirt Roads and Fence Lines” will have appeared in the RMR charts which it fully deserves and will get him noticed in his home country.

go to https://www.dougadkins.com and pre order your copy of “Dirt Roads and Fence Lines” and get practicing you line dancing.

So to sum up one has to wonder just how much longer Doug will be living in obscurity in the good ol’ U.S of A. He has all the hallmarks of an exceptional singer/songwriter, “Dirt Roads and Fence Lines” is poised to be a vessel for his lyricism that will garner him a much more substantial fan base.

An interview with Doug will be appearing when I have finished preparing the questions ( Doug will probably released his 12th album by then).

View post on imgur.com

Tenille Arts – Rebel Child

Hot on the heels of her performance of her original song “Moment of Weakness” on last week’s episode of the top-rated ABC hit The Bachelor, Tenille Arts is releasing a deluxe edition of her Rebel Child album on Friday, February 9, 2018. The new version of the album will include the radio edit and an acoustic version of “Moment of Weakness” and a soulful cover of the Alannah Myles smash “Black Velvet.” Rebel Child – Deluxe Edition will also include “Wildfire and Whiskey,” which has received over 1.5 million streams.

The Bachelor appearance propelled “Moment of Weakness,” which Tenille wrote with Adam Wheeler and Rick Huckaby, to #7 on the iTunes Canada Country chart and #17 in the U.S. Rebel Child came back onto the U.S. chart hitting #16, and her debut EP – which came out in October 2016 – reentered at #37.

The success of Rebel Child prompted PopCulture.com to name Tenille one of their “Country Artists to Watch in 2018.” Making waves with her self-titled debut EP a year earlier, resulted in streaming giant Pandora naming her one of their new artists to watch for 2017 and other media outlets touting her insightful songwriting and powerful vocals.

Tenille co-wrote 13 of the 15 songs on Rebel Child – Deluxe Edition with the likes of Chris Caminiti, Lydia Dall, Mark Narmore, Buddy Owens, Holly Stewart, Adam Wheeler and Doug Wilhite. Wheeler produced the album with Matt Rovey for 19th & Grand Records.

The 23-year-old behind all of this recent attention is quietly confident country music lover Tenille Arts (her real name) who was raised in the small Canadian prairie town of Weyburn, Saskatchewan. She picked up the guitar and penned her first song at the age of 13 and has been performing across the US and Canada ever since. She made the move to Nashville two years ago, and a songwriting session brought her to the attention of award-winning producer Matt Rovey (Craig Campbell, Dean Brody), songwriter/producer Adam Wheeler and Noble Vision Music Group head Hal Oven.

Tenille co-wrote 10 of the 11 songs on her Rebel Child album, which was released in October and debuted at #2 on the iTunes Canada Top Country Albums Chart, #12 on the All-Genres Chart and #34 in the United States. Tenille’s music tallied over two million streams in 2017 and over three million overall. Her “Cold Feet” single so moved noted music critic Tom Roland that he penned a rare full-page feature about the recording in a recent issue of the Billboard Country Update.

Music Row Magazine critic Robert K. Oermann called Tenille “Promising in the extreme,” Pandora said, “with songwriting inspired by Don Henley and reminiscent of early Taylor Swift, and vocals the size of her native Canada, Arts’ future is bright,” and popular country website whiskeyriff.comlabeled Tenille a “new country artist name you need to know immediately.”

TME.FM Radio’s Top Songs Of 2017.

Below is the playlist of our 20 favorite songs of 2017.

Yes I know there are 42 but without declaring war among ourselves we could not make the list any smaller.

We had to use dirty tricks,back stabbing,bribery,coercion and  payment of favors but the 7 of us finally agreed.

We apologize to all the artists who have not got a song on the list , it does not mean they were not good enough we could not make a decision.

This list in no way reflects the TOP ALBUMS OF THE YEAR list which is being compiled in a much more democratic way. No bribes will be accepted from artists or PR companies I can assure you.

Now press play and listen to the best of the best of the best songs played on TME.FM Radio in 2017.

Eli Fox – Tall Tales

Throughout musical history, those of a tender age have often shown a prolific prowess that outpaces their level of growth and maturity. The examples are evident — Michael Jackson, Sarah Jarosz, Stevie Wonder and Sara & Sean Watkins are among the more obvious examples of musicians who made their mark early on, at an age where many of us are just learning how to tie our shoelaces.
East Tennessee’s Eli Fox is the latest artist to show that remarkable proficiency; at age 18, he’s setting his sites on college and, equally importantly, boasting his full length musical debut, the ironically dubbed Tall Tales. The follow up to an initial EP that came out last year, it finds Fox taking his cue from traditional Americana…

…and, most strikingly, the wit and rapport of early Bob Dylan. That’s particularly true of a song like “Hillbilly” where he states his case and shares his rural roots. The easy amble of “Fine Toothed Comb,“ the aw-shucks sentiment of “Tell Me Why” and the rapid fire delivery that accompanies “What Can I Do” more than affirm his down home demeanor, a dry yet demonstrative sound underscored by his rural regimen and an unassuming singing style that sounds as if it just rolled out of the far hills of Appalachia. He shares an obvious admiration for Woody Guthrie, but his instrumental ability — he plays guitar, banjo, fiddle, piano and harmonica with equal ease — only enhances his reverence for the roots. Indeed, really has a rookie been so quick to establish his credence and creativity.


“Hats Off and Bottoms Up” says Nashville-based country artist, Cherish Lee.  These days, the daughter of country legend, Johnny Lee (“Urban Cowboy”) and “Dallas” star, Charlene Tilton deserves some “hats off” herself.  Her semi-autobiographical single, “Tequila Cowgirl” earned her rave reviews, international radio airplay, and several award nominations. Cherish will also be among the stars on the Christmas 4 Kids Bus Tour on December 11th in Nashville.

Now, “Tequila Cowgirl” has been named as one of the Top Female Country Radio Singles of 2017 by renowned journalist, Markos Papadatos of Digital Journal.  Cherish joins Danielle Bradberry, Elizabeth Lyons, Lauren Davidson, and Gwen Sebastian on Markos’ list.  Read the full article at http://www.digitaljournal.com/entertainment/music/op-ed-top-five-female-country-radio-singles-of-2017/article/509625.

“Tequila Cowgirl” is taken from Cherish Lee’s forthcoming 2018 release of the same name.  Watch the video at https://www.youtube.com/watch?v=XcxXNyB6rTQ.

Markos Papadatos is a Hellenic News Hall of Fame journalist. Over the past 11 1/2 years, Papadatos has authored over 7,500 articles. He has interviewed some of the biggest names in music including Aerosmith, George Jones, Merle Haggard, Dolly Parton, Emmylou Harris, Sheryl Crow, Dame Vera Lynn, Olivia Newton-John, and countless others. In 2017, he won “Best Twitter from Long Island” for @Powerjournalist in the Arts & Entertainment category in the “Best of Long Island.” For more information, visit http://www.digitaljournal.com/user/274377.

Cherish Lee has seen how hard the business is first hand through her father, Johnny Lee (country music legend, Urban Cowboy’s “Lookin’ For Love”) and mother, Charlene Tilton (television sex pot vixen, Lucy Ewing on hit TV show, “DALLAS”). She quickly gained her own recognition as a singer and songwriter in THE Music City. Lee’s album is truly homegrown– a Cinderella piece that is just flat out cool. “Tequila Cowgirl” is about an all American girl- a hard worker; she’s got her head on straight, knows right from wrong and lives by that. She loves Jesus and tequila. She loves her animals and is thankful for what she has. While she doesn’t need a man and won’t share her bed with just anyone, she is looking forward to meeting the right one. Any guy would be considered lucky to bring her home to meet his mama, and every girl wants to be her best friend! The song has an intimate, nostalgic feel to it with a healthy dose of country music. For more information on Cherish Lee, please visit http://www.cherishleemusic.com.


Chris Stapleton – From A Room Volume 2

Eight months after releasing the best-selling country album of the year, Chris Stapleton is back with a companion piece. From A Room: Volume 2 arrives December 1st, delivering another batch of songs culled from Stapleton’s Library of Congress-sized back catalog. It’s lean and live-sounding, with hands-off production by Dave Cobb – who captures each song with minimal knob-twiddling, shining some honest light on a working band that’s logged countless stage hours since Traveller‘s 2015 release – and plenty of guitar solos from the industry’s most unsung instrumentalist. Stapleton’s voice remains as titanic ever, but on these nine tracks, he packs an equally sized punch as both picker and bandleader. Volume 2 isn’t just about songs in RCA Studio A (the “room” in the title); it’s about the people occupying that studio too, and Stapleton keeps fine company throughout.

1. “Millionaire” (Kevin Welch)
Originally recorded by Kevin Welch, “Millionaire” gets a swinging, Heartbreakers-worthy update by Stapleton and company, who turn the tune into a soulful blast of heartland rock. The song’s secret weapon: Morgane Stapleton, whose harmonies trace her husband’s melodies at every twist and turn.

2. “Hard Livin'” (Chris Stapleton, Kendell Marvel)
Stapleton summons the ghost of Waylon Jennings with this song’s phase-shifted guitar riff, renewing his outlaw stripes along the way. Before the final solo, he lets a loud, lawless “Wooo!” escape from his throat, proof that recording “Hard Livin'” was easier than its title suggests. File this stomping Southern rocker alongside Traveller‘s “Nobody to Blame.”

With a Celtic-sounding verse and a haunting, minor-key chorus, “Scarecrow in the Garden” is the album’s first non-anthem, trading the bombast of the first two tracks for something more reminiscent of an old-school murder ballad. During the song’s final moments, Stapleton paints a gripping picture of a farmer at the end of his rope. “I was sitting here all night / With a Bible in my left hand and a pistol in my right,” he sings.

4. “Nobody’s Lonely Tonight” (Stapleton, Mike Henderson)
Written with ex-SteelDriver Mike Henderson, this low-and-slow soul ballad borrows some of its movements from the Great American Songbook, sounding like something Cole Porter might’ve written after too many drunken nights in the Delta.

5. “Tryin’ to Untangle My Mind” (Stapleton, Jaren Boyer, Marvel)
“I’m lonesome and stoned, so far down the Devil’s looking high,” Stapleton sings, embodying one of his most familiar characters: the tortured, heartbroken protagonist who’s looking for relief in all the wrong places. Behind him, the band kicks up plenty of bluesy dust.

6. “A Simple Song” (Stapleton, Darrell Hayes)
The title says it all. Unhurried and unplugged, “A Simple Song” sketches its storyline in broad strokes. There’s a factory worker, a broken family and a romance that’s keeping the narrator afloat. Like “Drunkard’s Prayer,” it’s one of the most intimate songs on the album, reminiscent of older tunes like “Whiskey and You.”

7. “Midnight Train to Memphis” (Stapleton, Henderson)
A booming, burly rocker, “Midnight Train to Memphis” finds Stapleton in jail, serving a 40-day sentence while a distant train wails its horn outside the prison walls. The whole riff is built upon a monster guitar riff, injecting venom and vitriol into Volume 2‘s final stretch.

8. “Drunkard’s Prayer” (Stapleton, Jameson Clark)
“I hate the fact it takes a bottle to get me on my knees,” Stapleton bellows, playing the part of a broken, boozy man who hopes God will be more forgiving of his sins than the woman who recently left him. The guitar pattern echoes Willie Nelson’s reading of “Blue Eyes Crying in the Rain,” and like that song, “Drunkard’s Prayer” is delivered entirely alone, a move that drives home the song’s lonely message.

9. “Friendship” (Homer Banks, Lester Snell)
Bookending the album with another cover tune, “Friendship” finds Stapleton singing a forgotten country-soul number from the Stax archives. The Staples Singers’ patriarch, Pops Staples, recorded the song shortly before his death, and Stapleton’s version updates the original with deeper groves and gorgeous guitar tremolo.