Fresh New Country: Case Hardin - Over Fort Worth

We head to West Texas for the sound of New Traditionalist Case Hardin .  Case recently released his debut album 'Over Fort Worth' to rave reviews across the Lone Star State.  

Case Hardin, a native son of San Angelo, Texas, grew up with a ranching and rodeo background while developing a love for traditional and neo-traditional country music. Case began his music career his senior year of high school in 2013, and hasn't looked back since his American Idol debut that same year. Backed by his band, their influences are very recognizable in the way that they play, from traditional honky-tonk music, to more progressive Texas music.

To add to his accomplishments, Case has already won various awards and competitions including State FFA, SXSO and many others.  Case has played with the likes of symphonies, Jody Nix, Jake Hooker, Billy Mata, Floyd Domino, Dave Alexander and Asleep At The Wheel.  Along with all of this, Case has opened for Casey Donahew, Roger Creager, Cory Morrow, Jason Boland, Radney Foster and other Nashville/Texas Country Legends.

 In Case’s short career in music, he has already played many Texas rodeos, music festivals, and dancehalls. Case Hardin released his debut album, “Over Fort Worth,” made with George Strait's, Aaron Watson's, Cory Morrow's, William Clark Green's, and Kevin Fowler's band. “Deep Blue Me” is the first single from his accredited album and is being played on radio airwaves across the state.

Fresh New Country: Jamie Richards - Second Hand Smoke

We share a recent discovery on Fresh New Country today.  It's Shawnee, Oklahoma's Jamie Richards with a track from his new album 'Latest & Greatest'.  Have a listen to 'Second Hand Smoke'.

 

About Jamie Richards 

Jamie Richards has spent his whole career just this side of the spotlight but, with one glance at his busy touring schedule and impressive discography, you wouldn’t know it. By not being much of a social butterfly, and not submitting to the powers that be, Richards has been able to make music and entertain his loyal fans one simple way: his way. By putting the song and the music first, and surrounding himself with like-minded people, Richards has carved out a very unique and comfortable place in the Texas scene. As he gears up to release his latest album, LATEST & GREATEST, he is looking to reach new audiences as well as reconnect with those who have followed him since the beginning. 

“It seems like the environment of country music is changing,” said Richards. “It’s shifting back to what I've done all along with songs that have a message and make you feel something. I’m very excited for everyone to hear this new album. Whether you’re a new fan looking for real country music or a long-time fan waiting to see what happens next, there is a song on here for just about anyone.” 

Known for being a singer that can deliver a range of emotions, Richards has climbed the ranks of country music, one rung at a time. Finding his way to Curb Records in 1999, he became a staff writer and celebrated cuts by artists such as Hal Ketchum (“That’s What You Get For Loving Me”), Ken Mellons (“Believe”), and the ever popular, “Loose, Loud and Crazy,” by Texas favorite, Kevin Fowler. Leaving Nashville in 2001 to join Wes Daily at Houston’s D Records, Texas became his “second home” and he has released five albums (NO REGRETS, BETWEEN THE LINES, DRIVE, SIDEWAYS, IT’S ALL ABOUT THE MUSIC) and 16 crowd-pleasing singles—12 of which made it into the Top 10 on the various Texas Music charts. From his first single, “Don’t Try To Find Me” (2002), to the chart-topping “Drive” (2008) and his most recent hit, “I’ll Have Another” (2013), success was imminent and his popularity knew no boundaries.  

Always a traditionalist, Richards’ newest effort, LATEST & GREATEST, is a compilation of songs old and new. Featuring several fan favorites from over the years, the five new songs on the album usher in a new chapter in his storied career. With a plot line that never changes and a setting that is all too familiar, Richards stays true to his country roots by delivering music fit for the honky-tonk crowd. 

“With LATEST & GREATEST, I feel I’ve put together songs that show my fans who I really am from start to finish,” said Richards. “Whether those fans are the diehards who have stuck with me over the years or younger ones who are just now being introduced to my music, the message is the same: I’m about being real and they can hear it. These are the songs that truly are a reflection of me as a good ole country boy from a dairy farm in Shawnee, Oklahoma. At the end of the record, I know they will be able to say, ‘I get it. I understand who this guy is and what he’s about.’ “ 

Kicking things off with “Second Hand Smoke,” Richards returns to Texas Country radio with a two-step tune that harkens back to a time when the scene was more about cowboy hats, sawdust on the dance floor and a cold beer than truck beds, dirt roads and baseball caps. Recorded in the studio with his touring band, another rebel nod to bucking the system, Richards’ “cradle to the grave” philosophy is on display in this song about not being able to forget a past love. 

“There’s no great story here, just something everyone can relate to,” said Richards. “The guy in the song can’t quite shake the memory of the girl he lost and, though he acts like he’s okay, it’s obvious that she’s always hanging around like secondhand smoke. If you want to hear a country song, this one is for you!” 

As his career surges forward and he tours the state playing gigs at venues packed with loyal fans, Richards continues to fight the good fight by resisting the trends that keep popping up in country music. Aiming to take it up another level with LATEST & GREATEST, his “keep it real” attitude takes center stage as this rebel with a heart peels off another layer and introduces his newest music. 

“I’ve done music from the heart since the beginning and I’m not about to stop now,” he says. “I’m too much about being real to try anything new anyway. There are a lot of country music lovers out there and I’m counting on them to see through the labels and recognize that the sound and style I’ve developed is one they can relate too. After all, those are the people I do this for.”

Rodeo Country Rewind with Charley Pride

 On Rodeo Country Rewind, We Ride Back In Time to May 1985 at the World Famous Wheeling Jamboree with the legendary Charley Pride and first class treatment of some country classics.

Some Jamboree History with Charley Pride...

October 23, 1971 stands alone in the annals of the Jamboree. On that date, an attendance record was set that has yet to be equaled. In his first Wheeling appearance, Charley Pride had an unprecedented four show sell-out by more than ten thousand country music fans. Having just been named male Vocalist of the Year and Entertainer of the Year at the annual Country Music Association Awards, Pride brought the capacity crowd to its feet during his four 30-minute performances.

Fresh New Country: Outta Style - Aaron Watson

For several years, Aaron Watson has developed a big following in Texas and beyond with music  in masterful storyteller fashion singing about cowboys, rodeo and small town life. After the Number One success of his 2015 Album 'Underdog", Watson is back with his next release "Vaquero" dropping on February 24th, 2017.  The first single "Outta Style' is pure country and Fresh New Country features it here:

Billboard.com talks to Aaron on the recording of Vaquero in this excellent story below:

 

Aaron Watson Puts the Cowboy Back In Country With 'Outta Style'

12/20/2016 by Tom Roland

Singer's dramatic 'Bottom-Of-The-Ninth' effort knits Tom Petty and country fiddles.

When Aaron Watson debuted at No. 1 on Country Albums on March 7, 2015, with The Underdog, he set a precedent as the first-ever self-released independent artist to start at the top on that chart.

He did it, of course, without substantial radio outside of Texas, and it raised a lot of eyebrows in the business.

“Everyone seemed so, so shocked,” recalls Watson. “But the thing that people aren’t factoring in is that we tour and we tour and we tour and we tour, so regardless of whether we’re getting played on mainstream radio, we are still servicing those markets and we are still reaching out to those fans.”

Considering the circumstances, the title The Underdog suited him nicely. And when Big Label/Thirty Tigers releases his next album on Feb. 24, it likewise will have an appropriate title: Vaquero. It’s Spanish for “cowboy,” and it’s apropos for a Texan whose typical apparel — a western hat, jeans and boots — is direct from the George Strait catalog. The album was crafted with that in mind.

“Aaron said to me early on that he wanted to bring the cowboy back into country music,” says producer Marshall Altman (Frankie BallardEric Paslay). “And I have kept that in my head about this record. It was our goal to make sure that we weren’t just nodding at those traditions but we were fully embracing them, meaning great story telling, big vocal out front, no programming, really. We were trying to make country music.”

The first single from Vaquero — “Outta Style,” released to radio via PlayMPE on Oct. 18 — makes that clear six seconds in when fiddler Glen Duncan introduces the instrumental hook, a big, bold, Charlie Daniels-size sound over a rhythm track that’s built on Tom Petty-like pulsing guitars and a handclap pattern that mimicks John Mellencamp’s “Jack and Diane.”

“A sawing fiddle makes people go crazy more than any other instrument I’ve ever seen,” enthuses Watson. “I know this for a fact because I opened for Kiss at Cheyenne Frontier Days. My fiddler starting sawing on that fiddle, and there’s thousands of people dressed up, their faces all painted like Kiss, and they went nuts.”

Arriving at “Outta Style” and that fiddle signature was a lengthy process that harkens back to The Underdog’s chart debut. After Watson and his wife, Kimberly, got over the immediate excitement of that accomplishment, he took it as a challenge. He decided to push himself as a songwriter, regularly rising around 5 a.m., writing songs before he took the kids to school and fitting in more writing sessions whenever he had a break throughout the day. He penned about 80 new songs and recorded the best 14 during the fall in Nashville.

While Altman was under the impression the album was done, Watson went back to Texas intent on recording another song or two.

“We call it ‘the bottom-of-the-ninth session,’ ” says Watson, alluding to the heroic late innings of a baseball game. “We record the entire album, and even if we feel the album’s done, it doesn’t matter. We have to go in and record the bottom-of-the-ninth session.”

Which required more material. During the sessions, he had played around with an idea he had titled “Never Going Outta Style” — Altman had notated it in a production manual as “unfinished” — but it finally made sense when Watson took Kimberly out for dinner at the Perini Ranch Steakhouse in Buffalo Gap, Texas. It’s a restaurant they frequented when they were dating, and in the glow of the candlelight that night, he was struck by the depth of his feelings for her after more than a decade together.

“The line hit me, ‘The trends will come and go/The winds of change will blow/The way we love is never going out of style,’ ” remembers Watson.

When they went home, he went to work finishing “Outta Style.” “Apparently it wasn’t too much of a hot date,” he jokes, “because I was writing a song after dinner.”

He put plenty of himself into it, referencing his first car, a Monte Carlo; recalling how Kim believed in him when he was a “poor boy playing on some pawn shop guitar”; weaving his own jeans-and-boots style into the storyline; and giving a nod to David Bowie’s “Rebel Rebel.”

“I just loved that ‘Rebel Rebel’ song,” says Watson. “It’s so classic. The verses, I don’t exactly know what the heck Bowie’s talking about, but the mood and the attitude of the song is so young, so youthful.”

Watson put an exclamation point on the timeless theme in the bridge, citing James Dean’s fashion, Steve McQueen’s movie scenes and Marilyn Monroe’s smile as images that — like the relationship he’s singing about — survive every trend.

Watson had Altman book his bottom-of-the-ninth session at Blackbird, but waited to introduce “Outta Style” until he could play it in person. Altman heard it for the first time at his own studio on Sept. 27 with Watson playing it on his guitar, and he was convinced it was a winner.

“Hearing him play it in the room, it had all this energy,” says Altman. “And I [envisioned] the whole production, basically start to finish, the first time he played it for me.”

The band had become accustomed to Watson’s style throughout the album process, and it wasn’t hard to find the right tone when they reassembled.

“Aaron really wanted to keep an eye on his live show and make a record that was going to [not just translate] live, but something that felt like it was an extension of what he had created in his live show,” says Altman.

They nailed it on the fourth take with Duncan’s ultra-country fiddle pitted against the Petty/Mellencamp foundation. That might not match every listener’s view of the cowboy image, but it certainly fits Watson’s sense of it.

“I listened to nothing but Chris LeDoux and Garth Brooks in the ’90s,” says Watson. “You’d have to go to, like, AC/DC to find a band that could rock out as much as Chris LeDoux, but at the same time he was a genuine, authentic cowboy.”

The verses were delivered with punch and power, but the band turned it up a hair on the chorus, with drummer Jerry Roe adding some flash by leaning on the cymbals.

“Crash cymbals in particular are a great way to sort of accentuate the moment,” says Altman, “and that crash is adding all this energy because he’s not hitting them on the downbeat every time.”

Watson brought the same level of energy to his final vocals, and Altman stacked a load of enthusiastic background vocals.

The single is off to a good start, moving to No. 42 in its fourth week on Country Indicator, which reflects early impact in secondary markets. He’s hopeful that his bottom-of-the-ninth creation “Outta Style” could perform as a single the way that The Underdog did as an album.

“I want to be that guy — bottom of the ninth, two outs, down by one, runner on third — I want to be that guy that steps up to the plate,” he says. “I believe that ‘Outta Style’ can be that game-winning hit. And if it’s not, we’re going to keep swinging.” 

Fresh New Country: Everywhere - Mo Pitney

Country Singing & Songwriting Legend Bill Anderson is a very big supporter of young talent in Nashville.  One outstanding example...Bill helped write the debut recording from an artist that has had the Nashville music scene buzzing for the last couple of years.  This buzzworthy singer/ songwriter is Mo Pitney.  From Pitney's debut album Fresh New Country brings you the video for the third single release "Everywhere":

For more background on Mo Pitney and the writing and recording of Everywhere, we share this recent story from Sounds Like Nashville

Mo Pitney’s New Music Video Goes ‘Everywhere’

 KELLY BRICKEY • DECEMBER 29, 2016 - 7:12 A

When Mo Pitney sang about “Everywhere” in his new single, he actually meant it.

The music video for his latest single emphasizes the meaning behind the song, showing scenes from all around the world and outer space. Going between shots of Pitney’s performances at other venues and a personal one-on-one with the song, the powerful meaning behind the video is what the country singer strived to convey throughout each clip.

“Early on, I talked with the video producer and was really excited about this song, and wanting to portray the deeper message to the reason why we wrote it. I knew I wanted to have pictures of different places on earth and in space, and make the word ‘everywhere’ as big as we possibly could. I just went in, the only part of making the video I was actually a part of apart from some of the editing and stuff was just the performance part where we went into a studio and recorded the video for that. But everything else, we really searched and made,” Pitney revealed to Sounds Like Nashville.

While the song, “Everywhere,” may relate to listeners on a universal level, Pitney had a close connection to the message and his team of songwriters wanted to use the spontaneous inspiration to capture their spiritual relationship.

“We [Phil O’Donnell and Dean Dillon] were in camp actually on a fishing and writing trip, which was very fun. We probably wrote five songs that trip, but this one in particular was just something that the three guys that wrote the song were in agreeance on. Actually, to let some people in on the secret, we were actually just stepping up from a bible study when we wrote this song and we wanted to write a song that could be about God or about anyone else the way that someone else would want to interpret it. Dean said, ‘Hey, let’s just write a song about what we just talked about in bible study, but also leave it up for interpretation.’ So that’s what we did. We called the song ‘Everywhere,’ and just really excited to see what it does,” he explained.

Check out the new music video for “Everywhere” and be sure to pick up Pitney’s debut album, Behind This Guitar, on iTunes.

 

Fresh New Country: Missing - William Michael Morgan

A couple of years ago, we had the pleasure of meeting ace songwriter Wynn Varble and I asked him about any new artists that he wanted to brag on and without hesitation said to keep an eye on William Michael Morgan, "he's traditional and is gonna be a big star".  A few months later, I remembered that quote from Wynn as WMM's 'I Met A Girl' was released and started it's long climb towards Number One on the charts.  Every cut on his debut album 'Vinyl' is outstanding... good traditional country...one the best cuts is 'Missing', a song originally written with George Strait in mind.  It found it's way to WMM & Fresh New Country is proud to feature the video here:

Billboard.com has written an excellent story on the writing and recording of "Missing".  Check it out below:

William Michael Morgan Puts 'Missing' Into Action

12/28/2016 by Tom Roland

 

The new country singer de-stresses with a song that recalls Randy Travis and George Strait.

When country went through its recent bro-country phase, many longtime fans of the genre -- not to mention a major faction of Nashville’s creativecommunity -- griped that something was missing. Gatekeepers’ rush tocapitalize on the new sounds squeezed out the genre’s traditional roots. Veterans hoped that some kid could become a 21st century version of Randy Travis, whose emergence in 1986 fueled a return to country’s core in a period wherecrossover dreams had fueled much of the music’s direction.

William Michael Morgan's first single, “I Met a Girl,” invitedcomparisons to Travis, taking a crazy 52 weeks to climb to No. 2 on Country Airplay. His easygoing baritone and the song’s spacious arrangement were a radicaldeparture from the busy production values that dominate the current landscape, but they helped move the format back toward balance.

In that context, it’s ironic that Morgan’s sophomore single is “Missing.” Released by Warner Music Nashville to radio through PlayMPE on Oct. 24, it’s not acommentary on the volume of sounds in the format. Instead, it’s a reflection on the abundance of noise in the culture -- the incessant text messages, 24/7 news and entertainment, and the social media vortex. It’s so easy to get caught up in everyone else’sissues and priorities in 2016 that adults can easily lose connection with the most important soul in their lives: their own.

“Everybody needs to go missing from time to time,” says Morgan. “Everybody needs to get lost for a little bit and turn their phone off, turn their mind off and get missing. Go out in the water or the woods, whatever the case may be.”

“Missing” owes its existence to songwriter Rhett Akins (“Dirt on My Boots,” “Star of the Show”), who has been known to let the voice-mail messages pile up on his cellphone during hunting season.

“The song is basically about me,” he says. “I do go missing a lot. People text me. They finally start sending me direct messages, wanting to know if I’m still alive: ‘Dude, where are you?’ I’m usually gone off hunting somewhere, and my phone died because it’s so cold, or I just don’t have any service.”

The tables turned on Akins in late 2011 when another friend went AWOL for an extended period.

“He finally answered the phone, and I was like, ‘Dude, did you gomissing?’ ” says Akins. “He said something to the effect of missing was his favorite place to be. I don’t know if he said it exactly like we wrote it, but that’s where I got the idea.”

Akins brought that concept into a writing session with Marv Green (“Shotgun Rider,” “Wasted”) at THiS Music on Nashville’s Music Row. Green, whose hit list includes “True” and “It Just Comes Natural,” felt that George Strait — noted for maintaining a low profile — was a likely target.

So Green drove the tempo and got a start on the melody, steering it toward the Texas club culture that sprouted Strait.

“It’s not really a [western] swing song, but it’s more in the California swingy, dance hall vibe, more than I grew up on,” says Akins. “Marv’s a great guitar player, and he really knows his country licks. He and his brother grew upplaying bar bands. I never really grew up having to make people dance.”

Green used surfing as a getaway during his formative years in California, and he’s still apt to go for a run or take a walk at Nashville’s Radnor Park to block out distractions. He and Akins decided to cast as wide a net as possible as they suggested escape hatches in the chorus.

“We set up the back half of the chorus first and then figured out ‘Where do you go missing?’ Well, big city, country, little beach town,” says Green.

The second verse details just how long the protagonist has been out of circulation — the grass is three-feet high, the mailbox is full, and his email has at least 100 unanswered messages — but the money line is in the classiccountry wordplay: “I’m on a mission to be missing.”

“I love alliteration,” says Green. “Rhett and I love a lot of the same music, and we love playing with words and melody at the same time. It’s just one of those things — you get both of the ‘m’ sounds, you get the [short “i”] of the ‘mission’ and ‘missing.’

And they got the song done quickly. They didn’t get it placed quickly, though. Strait never did bite, and when Florida Georgia Line’s “Cruise” set off a wave of progressive singles in 2012, there weren’t many acts looking for something as traditional as “Missing.” Not, at least, until Morgan signed with Warner Music Nashville. Sony/ATV vp creative Tom Luteran and senior vp creative Terry Wakefield pitched the song to producer Jimmy Ritchey (Jake OwenGreg Bates), and Morgan’s team lived with it for a while before they finally cut it for his debut album, Vinyl.

“It really hit me because at that time I was just so busy,” recalls Morgan. “I didn’t even know which was up or which was down.”

They recorded “Missing,” along with the rest of the album, at Ocean Way Studios. Fiddler Larry Franklin, electric guitarist Brent Mason and steel guitarist Paul Franklin play the song’s descending signature riff and get plenty of opportunities for small, instrumental fills, but there’s enough space left that Ilya Toshinsky’sacoustic guitar rings clear.

“There’s not a lot of bells and whistles,” says Ritchey. “There isn’t any programming on the record whatsoever. It’s all guys playing their instruments.”

“This song was one of those that just has to fit in the pocket and feel good,” adds co-producer Scott Hendricks (Blake SheltonAlan Jackson). “There’s not a lot of complexities for the musicians on this song, but that’s also part of its charm. It’s so easy to listen to.”

Morgan later cut his final vocals at the Warner Bros. Studio after he did his own sort of “missing” routine in the booth to get in the right head space.

“I keep to myself,” he says, explaining his approach to vocals. “I’m normally an outgoing guy, but I reserve myself a little more, I drink a bunch of tea, a bunch of coffee and a bunch of water, and that’s it. Maybe a bag of Lays potato chips — I do love me some of them Lays potato chips.”

Morgan’s routine works.

“Everything you preach to other singers about, you don’t really have to with him,” says Ritchey. “Just turn him loose, let him get comfortable, and let him hear himself the way he wants to hear himself — he’ll sing it two or three times and be done. He’s that good of a singer.”

As “I Met a Girl” concluded its chart run, Hendricks and WMN vp A&R Cris Lacyboth lobbied for “Missing” as Morgan’s sophomore single.

“It talks to so many people,” says Hendricks. “Women, men, young, old, in-between — all of us have the innate desire to be missing, and these lyrics just say it so cool.”

“Missing” begins its chart run with a No. 59 debut on Country Airplay. Assuming it moves forward, it guarantees a traditional-country presence on modern country radio in the coming months. And it brings some utilitarian encouragement to a stressed-out 21st century populace.

“It’s about getting gone for a minute,” says Morgan, “just freeing yourself and getting all that bad juju out of you before it beats you down.”

Fresh New Country: Tractor - Granger Smith

You gotta watch the new video from Granger Smith...Fresh New Country is proud to bring you this outstanding story told in song by Smith...anyone can relate to it, in particular those of us who grew up in 60's and 70's on a small family farm in the rural heartland of North America.

Making this video was very special to me. The man isn't an actor, it's my dad's lifelong best friend. This isn't a music video set, it's dad's barn, dad's field, dad's tractor. I still miss him every day.

Our friends from Sounds Like Nashville provide some background how this touching video was produced and released just before Christmas by Granger Smith.

Granger Smith Pays Homage to Late Father in ‘Tractor’ Video

 LAUREN LAFFER • 

The holidays can be an especially tough time for individuals who have lost loved ones and aren’t quite sure how to do Christmas without them. To help ease the pain, Granger Smith recently released a music video for his song “Tractor,” a fitting tribute to those who have loved and lost.

“Making this video was very special to me,” Smith wrote on Facebook. “The man isn’t an actor, it’s my dad’s lifelong best friend. This isn’t a music video set, it’s dad’s barn, dad’s field, dad’s tractor. I still miss him every day.”

The video, which has garnered over a million views since its posting, namely features Smith’s father’s friend, until the close when Smith and a little boy, likely one of his sons, make a cameo.

Smith wrote the track, which features lyrics like “Up on that tractor Things might be faster in the world / But big wheels rollin’ slow, Help you see what’s important / What really does matter, Up on that tractor,” entirely on his own.

“Tractor” is one of the album cuts from Smith’s major label debut album, Remington, which was released in March 2016.

“I’ve always thought of my albums as diaries of my life,” said Granger when the project was announced. “Some songs are easy and light-hearted, while others are painful and personal. During this time, we welcomed the birth of my little boy, and we lost my dad. My life was such a roller coaster during my time writing and recording ‘Remington,’ and you can hear that journey in these songs.”

Fans can pick up a copy of Granger Smith’s album, Remington, featuring “Backroad Song,” “If The Boot Fits” and “Tractor,” on iTunes.

Cowboy Clips....Hee Haw 1st Episode 1969

Here at Cowboy Clips we have a rare treat for you.....the very first episode of Hee Haw which aired on June 15, 1969 with guests Charley Pride & Loretta Lynn....Ride Back in Time With Us

first episode aired 15-06-1969 Music: Buck Owens, Don Rich, Susan Raye and The Hagers "Johnny B. Goode" Loretta Lynn - "Your Squaw's on the Warpath" Grandpa Jones - "The Banjo Am The Instrument For Me" Charley Pride - "I Can't Help It (If I'm Still in Love with You)" Roy Clark - "Sally Was a Good Old Girl" The Hagers - "Gamblin' Man" Buck Owens - "Who's Gonna Mow Your Grass?"

More Hee Haw and Charley Pride from 1970

Fresh New Country...Dorian Sean - Forever

Rodeo Country Radio's Cowboy Clips is proud to introduce new exciting and talent with 'Fresh New Country'.  Fresh New Country will showcase talented newcomers on the verge of stardom. Our first artist that we are happy to feature is Dorian Sean from Caldwell,Texas.

 Smooth vocals and unbelievable chorus shroud Dorian's ability to catch the listener and draw them in. His sound is unique and all Dorian Sean! His growing popularity in the country field is getting the notice of both Sony Records and Universal Music Group!   Dorian's new album coming "Come Back Home" feat. Waldene Herring and more!!! Mixed and mastered by Beau Vallis Singer/Songwriter/Producer of Pharrell album "Girl"!

Watch Jon Pardi’s Incredible Acoustic Cover of a George Strait Classic

Jon Pardi’s breakthrough hit “Head Over Boots” recently claimed the top of the charts – and for good reason. The lighthearted love song transports listeners back into the late 80s and early 90s style of country, which features a higher emphasis on lyrics and a more peeled-back production style.

Now, Pardi has decided to put his own spin on a George Strait’s “Nobody In His Right Mind Would’ve Left Her” from all the way back in 1986. The cover was a part of the California native’s series of acoustic performances shared online earlier this summer.

 

READ MORE: 5 Things You Didn’t Know About Jon Pardi

In the video, he calls George Strait one of his musical before explaining the heartfelt reason why he chose to cover the song. You may want to get a tissue for this one.

Pardi has been keeping up a rigorous touring schedule this year, and has no plans of stopping any time soon. He’s set to head out on a co-headlining jaunt with Kip Moore later this year. The Me and My Kind Tour, will kick off in Oklahoma City, Okla. on Sept. 30. You can find a full list of upcoming tour dates at Pardi’s official website.

Hear a Preview of Willie Nelson’s Upcoming Ray Price Tribute Album

BY LINDI SMITH Wide Open Country

 

Willie Nelson is no stranger to tribute albums. In fact, Nelson’s Gershwin tribute albumrecently earned the top spot on the jazz charts. Now, he’s putting an album out to honor his late friend and legendary country musician Ray Price.

Before Price’s passing in 2013, he was working on an album titled Beauty Is with producer Fred Foster and string conductor Bergen White. Willie has decided to team up with Foster and White for the tribute album, which will be titled For the Good Times: A Tribute to Ray Price.

 

Nelson and company recorded the album in Nashville’s Ocean Way Studios, where Price was recording. Vince Gill and the Time Jumpers sing and play back-up on multiple For the Good Times tracks, including this version of “Heartaches By the Numbers.”

Luke Bryan Hopes ‘Move’ Will Get Fans Dancing

 

 LAUREN LAFFER • JULY 26, 2016 - 7:01 AM

hoto courtesy Capitol Records Nashville 

Luke Bryan recently released “Move” as the fifth single from his hit record, Kill The Lights. While the story may not be deep and insightful, the aim for the song was just to send a fun, party song out to fans.

“‘Move’ is all the fun you could want to have in a song in my opinion. It’s what I envision, big ole country dance clubs across the country playing that and it filling up and everybody having a great time,” the Georgia native said of the track he co-wrote.

Though Bryan enjoys the party aspect of the song, he also appreciates the symbolism within the lyrics.

“And when you talk about there’s a little inside story about a girl that moves to the south and she’s kind of shy and then she gets in with these kind of rebel crowd girls and they teach her how to let her hair down and all that, it’s pretty fun,” he explained. “A lot of imagery in that. Kind of a cool picture painted in that, and [I’m] really proud that I got to write that song with Michael Carter and Jay Clementi. We worked out butt off on it.”

“Move” is the fifth single from Kill The Lights and follows is 16th No.1 single, “Huntin’, Fishin’ and Lovin’ Every Day.”

Listen To Frankie Ballard’s Hot New Single, ‘Cigarette’

 LAUREN JO BLACK • Sounds Like Nashville

Temps around the country are reaching record highs, and it appears as if it’s going to get hotter with the release of Frankie Ballard’s sexy new single, “Cigarette.”

Written by Chris StapletonKip Moore and Jaren Johnston, “Cigarette” is the second single from Ballard’s latest album, El Rio. Following his hit “It All Started With A Beer,” “Cigarette” follows the story of a guy who is longing to be a part of a girl’s life.

“I wanna be a cigarette, Smoking on so cool/ Or maybe that red wine, You’re drinking down so smooth/ I wanna be the fire, That’s taking you higher/ Girl you can leave me, Or let me burn/ I wanna be your cigarette” Ballard sings in the chorus.

To accompany the release, Ballard filmed a steamy music video for “Cigarette,” which follows a pole-dancing stripper, as part of his El Rio Video Series (check it out above).

“’Cigarette’ is straight up and down just about lust,” says Ballard, “and all you gotta do is listen to it to know what I’m talking about.”

Fans can catch Ballard performing the song live as he plays fairs and festivals across the country throughout the summer. Click HERE to see if he’s coming to a city near you.

Old Dominion Channels The Beatles, George Strait In 'Song For Another Time'

 

6/30/2016 by Tom Roland Billboard.com

The new single's lyrics span titles from Hank Williams to Elton John to Katy Perry.

In an era when neither audiences nor artists tend to favor just one genre, Old Dominion’s “Song for Another Time” may have emerged at the perfect moment.

The third single from the band’s album Meat and Candy pulls together nearly two dozen song titles to paint a scenario of a couple doing its best to revel in the current upbeat moment, knowing that the relationship is headed for a disappointing crash. Officially, “Another Time” employs 20 familiar copyrights, from Hank Williams’ “I’m So Lonesome I Could Cry” to Katy Perry’s “Teenage Dream,” all of them spelled out in a Spotify playlist. It’s possible to argue there are 22, if you count “You and I” as a title (one that could be attached to three different songs: a country hit by Eddie Rabbitt and Crystal Gayle, a disco track from Rick James or a modern ballad by Lady Gaga) or count the somewhat obscure “Let’s Pretend” by The Raspberries. But those are collateral accidents.

“Some of the lines we put in there actually are songs,” says Old Dominion lead singer Matthew Ramsey. “But that’s kind of a serendipitous moment there.”

Credit serendipity for the title “Song for Another Time.” Ramsey heard someone else self-regulate a conversation by saying, “That’s a story for another time,” a phrase that struck him as potential grist for a song. He didn’t know where exactly it would lead, and the first time he tried to introduce it during a writing session, it went absolutely nowhere.

He brought it up again roughly a year ago on the band bus in the shadow of a stadium on Kenny Chesney’s The Big Revival Tour. Matt Jenkins (“Confession,” “Cop Car”) had flown out to write with Ramsey (“Chainsaw,” “Say You Do”) and Old Dominion guitarist Trevor Rosen (“Sangria,” “Better Dig Two”), a trio that has collaborated almost weekly for about four years. Old Dominion guitarist Brad Tursi (“A Guy Walks Into a Bar,” “Save It for a Rainy Day”) sat in on this particular day, as Ramsey tossed out the “Song for Another Time” title once again. This time, the idea took hold.

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“Just through our conversation,” recalls Ramsey, “it was like, ‘Man, what if it was living out these happy songs and not being sad songs,’ and we just sort of started down this road of putting song titles in it.”

Rosen tossed up the first sad song, George Strait’s “Marina Del Rey,” and the first verse progressed through a couple other downcast classics, The Beatles’ “Yesterday” and Bonnie Raitt’s “I Can’t Make You Love Me,” before finding some rejuvenation in the chorus. There, the mood changes with references to such upbeat pieces as Van Morrison’s “Brown Eyed Girl,” Neil Diamond’s “Sweet Caroline” and Tom Petty’s “Free Fallin’.”

The references spanned multiple decades and styles — ’70s pop (Elton John’s “Candle in the Wind”), ’80s R&B (Lionel Richie’s “Dancing on the Ceiling”), ’90s country (Hal Ketchum’s “Small Town Saturday Night”) — matching the band’s wide-ranging background and the modern audience’s eclectic tastes.

“For the first time in history, all of us have now grown up where our iPod maybe had Hank Williams on it and it had P. Diddy on it,” says Jenkins. “People are listening to Katy Perry and they’re listening to George Strait, so I think it’s cool to incorporate all that where it’s not just all country. It just speaks to music in general, which was very intentional.”

Grabbing from the classics was easy. Blending in more modern titles was a little tougher.

“Those were the ones that were challenging to find — something that we could put in there that was pretty much known by everybody,” says Ramsey.

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Once it was done, Rosen played acoustic guitar over a synthetic drumbeat from Tursi’s laptop, and the guys sang the song with full harmony into an iPhone. “They’re able to work out parts and all that stuff in the midst of writing the song, and there is a lot of harmony on that chorus,” notes Jenkins.

They wrote one more song that day, a more light-hearted effort called “Goner,” then played them both for the other members of Old Dominion, drummer Whit Sellers and bass player Geoff Sprung, who were both enthusiastic about “Song for Another Time.”

Tursi subsequently whipped up a more elaborate demo from the work tape, and that version was sent to Chesney, who passed.

“He emailed me back and was like, ‘Man, this is a great song. It’s not right for me, but you guys should cut it,’ ” remembers Ramsey.

Later on the tour, Old Dominion played it at sound check before another stadium gig, and it felt so big in that context that they decided it needed to be added to its debut album, Meat and Candy, which was already finished. Producer Shane McAnally(Kacey MusgravesSam Hunt) booked House of Blues recording studio in Nashville, and the band flew back to Music City to knock it out in one day.

“One of the things that was really, really important to me was that guitar lick at the beginning,” says McAnally. “It has this dissonance — very Trevor Rosen. I don’t know why that lick tells me so much, but it does. It has the essence of [John Lennon’s] ‘Imagine.’ And because ‘Imagine’ is one of the most revered songs of all time, it felt important.”

While Sellers plays drums throughout the track, the opening sections of “Song for Another Time” sound a bit tinny, almost programmed. The rhythm is enhanced subtly with handclaps in the second verse, and by the end, the back beat has a much more forceful tone, much of it from engineer Ryan Gore playing with the sound during mixing.

“The drums definitely help carry the story,” says Ramsey. “It gets bigger and bigger and bigger and bigger, and by the end, it’s full-blown arena.”

By the end of a 12-hour day, Ramsey was pretty much blown out at House of Blues. The rest of the band watched from the console while he did his lead vocals. He felt pressure to get it right, but fatigue was making it hard to stay focused. McAnally visited the vocal booth, recalls Ramsey, and encouraged him to put everyone else out of his mind, focus on the story and find some moment in his own past when he had experienced the kind of heartbreak that’s embedded in “Song for Another Time.”

“I think he did it two more times and that was it,” says McAnally. “I remember Brad Tursi standing there at the board, and he said, ‘What did you say to him?’ All of the sudden, it just had this new life.”

The previous Old Dominion singles, “Break Up With Him” (No. 1, Country Airplay) and “Snapback” (No. 2), are part of the “candy” quotient in Meat and Candy, says Ramsey. “Song for Another Time,” released to radio via Play MPE on May 31, is at No. 36 in its third charted week. A song that almost didn’t make the album has now been picked, he says, to bring out some of the project’s meaty flavor.

“Let’s hope,” says Ramsey, “it’s a bacon-wrapped filet.”

Blake Shelton’s Got a Way With Words in His New Music Video

 LAUREN LAFFER • Sounds Like Nashville

 

Blake Shelton seems to be the one who has a way with words in the music video for his latest single, “She’s Got A Way With Words.”

The clip, which was filmed in his hometown of Tishomingo, OK, follows Shelton to an underground poker game where his buddies listen to his breakup story. As the video continues, the singer is seen making a rousing comeback at a bar shooting back cold ones.

In a behind-the-scenes clip posted to PEOPLE, Shelton explains that the video’s setting is in an old dentist’s office that he purchased and converted into the set. “This is making for the perfect backdrop,” he said. “It’s been fun.”

“She’s Got A Way With Words” was written by Wyatt Earp, Andy Albert and Marc Beeson and is the third single from his new album If I’m Honest, following “Came Here To Forget” and the faith-based single “Savior’s Shadow.”

Check out the clip above.