Browsing articles tagged with " Hellbound Glory"

This New CMT Edge Outlet

September 12, 2012 - By Trigger  //  Random Notes  //  12 Comments

A few days ago, CMT launched a new format and website called CMT Edge with the intent of covering artists outside the norm of mainstream country music. Since then I’ve been asked many times what I think of it, and my stock answer has been that I don’t exactly know what I think of it yet. The venture is still in its infantile stages, and it will take time to determine just what CMT Edge will be, and the impact it will have.

Having said that, I see no reason at this point not to stay positive about it. It’s always good to have more avenues for good music to reach people. As I always say, I want good music to get popular, and popular music to get good. Any sense of ownership or desire for exclusivity anyone might feel with the independent music they love and worry that CMT Edge might erode that exclusivity is being silly and selfish. So far, they’ve featured artists like Sara Watkins, The Avett Brothers, Trampled by Turtles, and JD McPherson among others. They also appear to intend to use CMT Edge to cover older country artists like Dwight Yoakam and Patsy Cline; both who’ve been featured already.

If you look at the categories of the 11 features posted on CMT Edge so far, 8 of them are labeled “Americana”. I don’t think it’s coincidence CMT Edge was launched the same week the Americana Music Conference is going on in Nashville mere steps from the CMT headquarters. Americana is growing, and CMT would be fools to not try and tap into that market. Make no mistake that CMT, which is owned by Viacom, would have never launched this venture if they didn’t think there was a profit to be made, and that there’s demand for the content.

So what is the possible downside to CMT Edge? It could possibly take attention away from independent media outlets, especially ones in the Americana world like No Depression, Paste, or possibly in some small respects Saving Country Music. But again, more outlets for good music is generally a good thing, and if these outlets feel threatened, they should step up their game. And I doubt CMT Edge will dig as deep as many of the current independent outlets do. As much as bands like Trampled by Turtles and The Avetts are on the outside looking in when it comes to mainstream country coverage, they are also very successful bands making good livings playing music. To stay profitable, CMT Edge will stay with established acts who simply don’t fit comfortably in the mainstream country world. Don’t expect Hellbound Glory and Jayke Orvis to get features soon.

My biggest concern is in the underlying subconscious labeling of acts that could come with CMT Edge coverage. Some may see a band being featured on CMT Edge as an implication that they are a smaller tier, second rung act. By not putting these acts beside country music’s biggest names, but below them through an outlet meant to cover the “edge,” there’s the danger of typecasting these artists as cut-rate. It’s always been a belief of mine that the top tier independent talent deserves equal-billing with country’s top names. If just given a chance, an artist like Justin Townes Earle could possibly score just as high as Jason Aldean with the public. Consumers just need to be given that choice. CMT Edge in some respects kicks the “more choice” can down the road instead of confronting mainstream country’s issue of a lack of new talent entering the genre.

Mainstream country lacks a legitimate farm system. And once an artist is cast as Americana/Independent/Underground, etc. they’re usually beholden to those avenues for their music till eternity, many times facing low ceilings of success and no chance of mainstream radio play or media coverage. Meanwhile in mainstream country, there’s few artists working the traditional program, going from honky tonks, to clubs, to theaters, to eventually the arena and a major label deal. Instead, new country talent is culled from the safe, easy avenues of reality TV programming, or professional Nashville songwriting circles. This has left country creatively bankrupt, as the most-creative and brightest talent flocks to Americana because they don’t want to be labeled as “country” because of the non-creative, commercial stigma.

Americana may have a lower commercial ceiling than mainstream country, but it continues to find some very legitimate traction, and seems to be building in stature and infrastructure each year. NPR is now offering Americana a big radio outlet, festivals are forming and growing that appeal to the Americana crowd, and small to medium, sustainable music entities like Thirty Tigers, Bloodshot Records, Dolph Ramseur (the man behind the Avett’s success and the Carolina Chocolate Drops) are beginning to create real organization behind the Americana idea, and are even having success getting their artists on programs like The Late Show with David Letterman, and Jimmy Kimmel Live.

What does this all have to do with CMT Edge? Clearly the independent side of the music world is growing, and CMT doesn’t want to be left in the dust. As all popular music continues to coalesce into one big “popular” mono-genre, music that is indefinable by genre and/or appeals to micro-sects of people is expanding. Whether it is Americana, classic country artists, neo-traditionalists, or punk-country, appeal for independent music is increasing, and CMT Edge is proof of that. Is CMT Edge commercial exploitation of this music? We’ll have to see, but there’s no indication that is what is happening at the moment.

As much as I think that much of CMT’s reality programming perpetuates negative country stereotypes and that its parent company Viacom is generally a negative force in the media marketplace, there’s nothing from CMT Edge so far that irks me. So let’s stay positive about it, work as a music community to attempt to steer it in a positive direction, and be glad that better music is catching on and continues to find new outlets.


Ke$ha Will Be A Force In Country Music (& work w/ Hellbound Glory?)

July 31, 2012 - By Trigger  //  Random Notes  //  70 Comments

Reno, Nevada’s Hellbound Glory just finished up a big 6-week tour, and behind them they left a trail of rumors that a future album might have a contribution from electro pop star Ke$ha. Apparently the band met Ke$ha just after coming off another tour and hanging out at their favorite Reno bar called The Hideout the same night Ke$ha was in town playing a show. It still seems somewhat uncertain if the collaboration will actually happen, and if it does, it probably wouldn’t be a full blown duet with Hellbound Glory frontman Leroy Virgil, more just a female backing vocal track.

But all of this Ke$ha talk rekindled a fascination I had with the pop star and her country aspirations about two years ago. Certainly in my world, the meteoric rise of a pop star will not light a blip on my radar…until the rumors of them wanting to “Go Country” forces me into duty, sniffing around on celeb-pop websites like a ravaged beagle in an overturned trash can, squinting my eyes at glittertext, wading through pop-up ads for pimple creme and Southern California-based reality shows to try and substantiate the “Gone Country” claims.

Ke$ha told Papermag in July of 2010:

“I’m really inspired by country music–my mom wrote country music–and I love Dolly Parton and Johnny Cash. I think at some point there might be some country collaborations or records in the future.”

Earlier in 2010 she told

I think people should know the classics — Johnny Cash, Dolly Parton, also Townes Van Zandt, I’m a huge fan of him. [Bob Dylan's Nashville Skyline is] one of my favorite albums of all time, because I grew up in Nashville, and so everything about that record is really special to me. When you listen to that record, especially on vinyl, and you’re either falling in love or waking up after a long night and you’re with all your friends, it just brings up a lot of nostalgia.

Pop stars positioning themselves for a country move by claiming they’ve always been into the music is nothing new. The difference with Ke$ha though is her references to her country roots and influences are actually true. Two years ago I wrote a whole article about how Ke$ha could become a huge force in country music but never published it, probably worried it would be misunderstood. Though on a later post about Lady Ga-Ga “going country” I claimed, “the pop star you really need to worry about going country, is Ke$ha. Mark my words.” And later in the comments explained why, how Ke$ha’s past was rooted in country.

Pebe Sebert

Ke$ha’s mom is a country songwriter by the name of Pebe Sebert. Her song of note is Old Flames (Can’t Hold a Candle To You), which became a hit for Dolly Parton, Merle Haggard, and Johnny Cash. Pebe Sebert did not start off in country though. She was a singer in a punk band, and then wrote the hit song “as a joke” according to Kesha in an interview with Ryan Seacrest. Pebe moved from LA to Nashville in 1991 after signing a songwriting contract when Ke$ha was still very young.

Ke$ha grew up in a songwriting environment, surrounded by music, and was taught how to play and sing at an early age. The story goes that as a baby, Pebe would put Ke$ha in a guitar case on stage while she performed. As Ke$ha grew, they would write songs together. A young Ke$ha and mom Pebe appeared in an episode of the TV show “The Simple Life.” Through the dumb reality TV plot, you can get a good reading of what kind of person Pebe is. Ke$ha was a good student and scored “near perfect” SAT numbers before dropping out of high school to pursue music in LA.

Ke$ha got involved with high rollers in the LA music scene, the whole time she was writing her own songs, citing Dolly Parton, Johnny Cash, and classic country as big influences. Ke$ha is a strong singer, has appeared on a number of pop and hip-hop albums singing backups and harmonies, and has written songs for other pop stars including Brittney Spears and Miley Cyrus.

However when her debut album Animal came out, it was described by critics as the most predictable, un-apologetically pop-oriented ultra-catchy album put out in years. Of course, the spoon fed public ate it up. The debut song Tik Tok was a #1 hit in 11 different countries, and became the longest running number one debut single by a female artist since 1977. When questioned about critics, Ke$ha bristles, citing how she writes all of her songs, and is just “having fun” right now.

Even during Ke$ha’s mega success and worldwide tours, she’s still collaborated with other artists. It was her contribution of backing vocals on rapper Flor-ida’s hit “Right Round” that put her in the pop spotlight to begin with, though she didn’t get paid a dime for the contribution. That is when she adopted the “$” in her name, to be ironic, because even though she was well-known, she was living out of the back of a Lincoln Town Car in LA.

Since then she’s established a trashy persona that celebrates bad tattoos, mullets, Tran-Am’s, and reckless behavior. Though on the outside Ke$has seems sincerely pop, some have given her credit for mocking the system with her songs and persona, an anti-pop star so to speak. She publicly distances from the Paris Hilton party scene, and very well may be playing the pop world from the inside, writing stupid, catchy songs to prove a point while cashing in financially. If there was ever a Trojan Horse of the pop world, Ke$ha would make a good candidate.

The question isn’t if Ke$ha will go country, only when. But it won’t be on her next album due out later this year, self-described as guitar-driven “cock rock” that “capture(s) some of the true essence of what rock and roll is, and that’s just irreverence and sexiness and fun and not giving a fuck.” Hellbound Glory would be Ke$ha’s first country contribution, but you can bet it wouldn’t be her last.

I’ve said it before and I’ll say it again, Ke$ha will be a force in country music.


Really Shooter Jennings? Bucky Covington?

July 23, 2012 - By Trigger  //  Random Notes  //  189 Comments

That’s right ladies and gentlemen, your hero, the lord of underground roots, the savior of independent music, Shooter Jennings, is releasing a duet single and video with the most pop-ity pop of pop country uber douches, the “Nickelback of Country Music”, American Idol’s Bucky Covington. The song is called “Drinking Side of Country” and all indications is that it will suck hard enough to send a golf ball through a garden hose.

For those of you who have no idea who Bucky Covington is (and I would like to think that is the majority of the Saving Country Music readership) you could make a serious case that he is one of the worst artists pop country has ever seen, from numerous perspectives. The only difference between Bucky and Jason Aldean is people actually listen to Jason Aldean. There’s nothing more failed than a failed pop country star, and that is what Bucky Covington is.

Last week folks were in a tizzy because Jason Aldean dropped the tidbit that he simply listens to Nickelback. Ha! Bucky has him beat by 1000 miles. In 2010, Bucky Covington actually recorded and released an entire Nickelback song, “Gotta Be Somebody.” And no, this was not just as some demo bonus track, it was a full fledged radio single with a big budget video. Watch, if you dare:

The world first learned about Bucky Covington’s flowing locks of highlighted hair and his Dirk Diggle mustache when he was a contestant on American Idol in 2006, finishing 8th. Since then he’s been slaying America with his bland and generic take on the most formulaic of pop country and garnering tepid commercial success. He’s also pretty notorious for being dumb. In April of 2010, he recounted a story to The Boot about actor Billy Bob Thorton, proving just how dumb he is:

I went to his house and hung out drinking lukewarm Coronas. This guy is the epitome of cool. We were talking movies and music, and he brings up the movie ‘Sling Blade,’ and I said, ‘Were you in ‘Sling Blade’? That was a great movie!’ And he thanked me. I asked who he was in ‘Sling Blade,’ and he said, ‘Carl.’ I said, ‘That’s the main character!’ I didn’t even know he was in it! But actually technically that’s a huge compliment to an actor, that I watched the movie, and I didn’t know it was [him]! And he wrote the dang movie as well!

Bucky also has a twin brother, Rocky, and together they like to do stupid shit and then lie about it to the cops. In 1998 they were arrested for hit and run, leaving the scene of an accident, resisting arrest, giving fictitious information to a police officer, and driving with a suspended license. Brother Rocky was in a car accident and had a suspended license at the time, so he dialed up Bucky who raced over and told the 5-0 that he was actually the one driving. The cops sniffed it out, and eventually they confessed. Then in July of 2011 they both were charged with grand theft for stealing $1,500 from the cash box at a Florida show. The charges were later dropped from lack of evidence.

Shooter Jennings has been trying his little heart out to earn scene points with the “roots” underground after his glam rock, industrial rock, and mainstream country projects tanked. So why now is he buddying up with Bucky Covington? Because of corporate politics and cross marketing. Both Shooter and Bucky are signed to Entertainment 1 Records, which ironically is one of the biggest hip-hop labels in the world. As much as Shooter wants to talk a big game about how corporate music sucks and he’s for the little guy, here he goes trying to re-cultivate his mainstream legitimacy. Or even worse, he’s doing it because he wants to.

But I don’t blame Shooter for pairing up with Bucky Covington. That is what he should be doing. When it comes to country, Shooter has always been a mainstream artist with mainstream songs. Where he doesn’t belong is acting like he fits into anything that is related to underground roots music. He doesn’t record DIY. He releases his music through big corporate labels. And up to 18 months ago, he admits himself had no idea underground roots music existed.

And no, Kellie Pickler’s name is not relevant here. Apparently she has a cameo in the Shooter/Bucky duet video and she used to be an American Idol pop country product too. And yes, I’ve grown very fond of her last album 100 Proof, but nobody is saying Kellie Pickler should do a duet with Hellbound Glory or headline the Muddy Roots Festival. That would be out-of-context, just like anything Shooter has to do with “underground” country. And if this Bucky Covington business doesn’t make you realize that, then you have been completely duped by the Shooter Jennings cult of personality.

And sure, Bucky Covington could’ve had a change of heart about his music just like Kellie Pickler did, but this duet song “Drinking Side of Country” is an old song Bucky released in 2010. It’s not new. It’s a stupid laundry list country song, and even worse, he named drops “Outlaws” in the song. Yes, Bucky Covington, Bucky Covington is talking about Outlaws, the same thing Shooter Jennings called out in his song “Outlaw You”. The hypocrisy is so incredibly-thick and undeniable around this song, but we’ll deal with the actual content of the song in due course, trust me. Meanwhile check out Bucky’s effeminate moves in the original version of “Drinking Side of Country” that make Luke Bryan look like a lumberjack:

And for all the folks that will say, “Gee Trig, why you always gotta be so negative?” I have no choice in this matter. My hand is being forced. When some artist who is touting themselves as a product of the underground/independent world cuts a duet with Bucky Covington filled with hypocrisy, or points a tank at the Country Music Hall of Fame, or promotes a Waylon song turned into a rap song, or buddies up with The Moonshine Bandits, I have no choice but to put as much distance as possible between those actions and myself.

I don’t think that Shooter is without talent. He has some good songs, and I recognize he is trying to do some things to help promote smaller bands. But the road to hell is paved with good intentions. And furthermore with Shooter, it’s the disingenuousness, it’s the talking out of both sides of his mouth, it’s the wanting it both ways, it is the Svengali-ing of independent artists by acting like he has any means to help them “make it” when really he’s using them to be promoters of his cult of personality. It’s the manipulation. And I’m sure Shooter will say, “Let me explain”, just like he says every time he makes a dumb move in his career.

Sure, Shooter has gotten some scant play in dark recesses of the dying corporate radio world in severely off-peak hours for some artists. This whole cross-exposure back scratching scenester bullshit isn’t outreach, it’s simply people trying to prove how cool they are to each other. Shooter doesn’t have the power to increase the exposure of any act any more than anybody else. And since he is a wickedly-polarizing character (who likely will even become more polarizing after this Bucky Covington mess), for every fan the Shooter Jennings name may bring to an artist, it scares away two more.

And no, “Hey I met Shooter, and he seems like a nice guy,” is no excuse for his endless string of bad decisions and overt hypocrisy.

There is no Shooter/Triggerman rivalry. He is an artist and someone rying to further his career, and I am a writer whose charge it is to tell the truth the way I see it. And right now, the truth in my eyes is that Shooter has no compass, no principles, will do and say whatever he thinks he has to to create support and traction in his career. And that has always been the case with Shooter, throughout his career, along with coming very close to stealing ideas and personas. Shooter cutting a pop country laundry list song with Bucky Covington is him jumping the shark, and showing his true colors.

But I’m probably just jealous.


How Hellbound Glory Sees “‘MericA”

July 4, 2012 - By Trigger  //  Random Notes  //  35 Comments

For months, Leroy Virgil of the infamous Hellbound Glory has been dropping little tidbits about a potential triple album coming out in the future to be called MericA. As Virgil told SCM at the beginning of the year, “Gonna come out in chapters or volumes, haven’t decided. Songs about real ‘merica.” Virgil is a virtual songwriting machine, and when you see him live expect to be regaled by brand new songs throughout the set. At some point the man will need to narrow the gap between what he’s written and what he’s recorded, and a triple album may be the only way to accomplish this.

A couple of weeks ago Hellbound Glory was in Nashville, in a studio session that included former Waylon Jennings’ drummer and right hand man Ritchie Albright, as well as Amanda Shires and Shooter Jennings among others. This was the first step in making what may become a landmark triple album of independent country a reality.

For the holiday, Leroy has released the lyrics to the upcoming title track, and in true Virgil fashion, they work just fine without the musical accompaniment.”MericA” plays off the broad theme Leroy has adopted of depicting rural America, one that is filled with broken dreams and bad habits; a more subversive view than corporate country likes to portray, but also one that is more accurate.

Stay tuned for more info on the album Merica.

The MericA Song (4 Bocephus)

(by Leroy Virgil of Hellbound Glory)

“There aint nothin like a gun to make you feel real tall
Like some alcohol, adderol,
Hey are you ready for some football?
You buy this truck rust and all

Its like a broke down American made
Suped up old Chevrolet
It aint our Government that makes us Great
And as long as we can make it
I think we got it made
In the good ole USA

Firing bottlerockets at the Ghetto Bird
Piss drunk July Third
Thats freedom honey aint you heard
It ain’t fun unless someone gets hurt

God bless the NRA through hard times and holidays
Sometimes we all just got to pull and pray
And as long as we can make it I think we got it made
In the good ole USA

I love pretty girls in shitty cars
High times in old divebars
Pissin beneath the moon and stars
God bless this land of ours

Its like a broke down American made
Suped up old Chevrolet and though it sound a little cliche
As long as we can make it I think we got it made
In the good ole USA”


Hillgrass Bluebilly to Finally Release Boomswagglers Album

July 2, 2012 - By Trigger  //  News  //  16 Comments

(This story has been updated)

Every once in a while you have and artist or band come out that is so pure, so raw, and so good, it is destined to self-destruct from its own internal pressure. Such was the case with the original incarnation of The Boomswagglers, a two-piece band consisting of Spencer Cornett and Lawson Bennett. The name “Boomswagglers” came from their real-life experience of living in a shack, eating out of cans and living off the land, spending days hunting arrowheads like modern day Mark Twain characters.

During this period they both became highly-skilled guitar players and wrote some of the most authentic country songs you will find recorded in the modern era. Hillgrass Bluebilly Records in Austin, TX got a hold of The Boomswagglers long enough to try and record an album, but the project almost seemed doomed from the beginning; they were just too raw, too real. It resulted in a rough, disjointed project that Hillgrass didn’t feel confident enough to put their stamp on, yet as bits and pieces leaked out over the years, The Boomswagglers slowly became underground icons from their raw songs and occasional performances around Austin, TX. After years of the public itching for the project’s release, Hillgrass Bluebilly finally released a Boomswagglers album as a bootleg for a short period.

Something about the authenticity of the whole thing made The Boomswagglers’ bootleg arguably one of the best, most engaging projects released in all of 2011. At some point Hillgrass Bluebilly took the bootleg down, and since then Saving Country Music has been flooded with questions and requests of where to obtain this rare piece of audio gold. The original Boomswagglers album has become an underground classic, and Hillgrass Bluebilly has finally decided to give it a proper physical and digital release, with a brand new version completely remastered from the original studio sessions.

The new Bootleg Beginnings from the Shack Out Back physical copy will be a collector’s edition that will include a handmade emergency fishing kit attached to the CD, with a hook, line, and various lures. The physical release date was July 12th, with the CD Release party happening at Antone’s in Austin, TX, with Hellbound Glory and Cade Callahan performing as well. The digital worldwide release is today, August 21st.

Guitar player/songwriter Spencer Cornett still plays under The Boomswagglers name with other players, while Lawson Bennett is now the proprietor of the Mustache Podcast.

Original “Two Guns Up” Review of The Boomswagglers’ Bootleg Beginnings

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Purchase Bootleg Beginnings from Hillgrass Bluebilly

Preview & Purchase Tracks from Amazon

Handmade fishing kits for collector’s edition

Image of the inside CD, taken from actual newspaper clipping

Inside Cover

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“Go Ready” Bands in Country Music Right Now

April 23, 2012 - By Trigger  //  Reviews  //  59 Comments

Hellbound Glory

Hollywood seems obsessed with finding talent among the masses with their silly reality show contests like American Idol and The Voice, when in reality there’s a boatload of talent just sitting there waiting to be discovered right under their surgically-crafted, cosmetically-sculptured noses. But of course they don’t want to actually find any talent, because then what would they have to sell commercials for boner pills and high fructose corn syrup in the next season?

So here’s a list of some bands that are go ready, right now, no excuses. These are not fey, artsy acts, goat worshipers, or punk gone country screamo shows. These are performers that even using Music Row’s shallow approach to music, are marketable, young, hip, with hit-caliber songs ready for country radio, excellent live shows, and would immediately improve the quality and appeal of the genre.

This is just my list, admittedly short, so if you have another artist in mind, please use the comments section to share. And no, this is not about selling out stadiums, it is about creating financial sustainability for talented artists that deserve it.

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Sunday Valley

If music was roulette and Sunday Valley were a square, I’d push my pile of chips and bet on them all in. Sturgill Simpson and the boys are in the studio as we speak making the “Album of their dreams” as Sturg puts it, that will include a guest appearance by Hargus “Pig” Robbins among others, just announced as a 2012 inductee to the Country Music Hall of Fame. But what puts this band over the top is their live performance that harkens back to how one must have felt when Hendrix or Stevie Ray Vaughn took the stage before their break: an unbelievable, dynamic, jaw-dropping experience that leaves you awe-stricken from the combination of originality and sheer talent. Buy your Sunday Valley stock now and watch it rise.

“2012 will be the year of Sunday Valley”. –that’s my quote.

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Hellbound Glory

Hellbound Glory stock has been slowly rising over the last few years, but is still nowhere near where it needs to be. Leroy Virgil is like the Chris LeDoux and Keith Whitley of our time all wrapped up into one. The sideways smile, the legendary-caliber songwriting, there’s no excuses why Hellbound Glory shouldn’t be selling out mid-sized venues and making a fair living playing the type of country music that country music needs. At the least Music Row is a fool for not poaching the Hellbound Glory discography and Leroy Virgil’s brain for his songwriting gold to slot with their already established artists. Every day that goes by that Hellbound Glory remains mired in the underground is another day that country music isn’t putting its best foot forward, and is not making the best case of why it is an important, relevant genre.

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Turnpike Troubadours

One of the best bands to see live, and Red Dirt DJ’s will tell you songs like “Every Girl” are great for radio. They have a new album coming out on May 8th called Goodbye Normal Street, and let’s hope this is the one that puts them over the top, and past the boundaries of the Texoma corridor. Unlike some of the other artists on this list who find themselves in their mid 30′s, where it feels like the window could be closing for them in the coming years, the Troubadour’s window feels like it is just opening. Potential has always been one of their best assets. Now it’s time for that potential to be cashed in for solid growth and success.

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Whitey Morgan & The 78′s

When the question is posed of who is gonna fill the shoes of the true Outlaws and honky-tonkers, from the ones passed on like Waylon and Paycheck, to the ones going gray like Dale Watson and Marty Stuart, trust me, the answer is not going to be Justin Moore. Whitey Morgan & Co. are the true connection, the current torch bearers of the ballsy, twang-heavy true country sound that would expose all the pop country laundry list fluff from the first listen if only given a chance. Similar to how Bloodshot Records label mate Justin Townes Earle has popped in the last few years, now it is Whitey’s turn. Dues have been been paid. Now it’s time to cash in.

Young Up-And-Comers to Keep an Eye On

Paige Anderson

Paige Anderson’s ceiling is limitless. Amazing voice with natural pitch and control, and a highly skilled flat-picking guitar player, there’s nothing naturally holding Paige back. And as one of the young leaders in West Coast bluegrass circuits, and the leader of her family’s band “Anderson Family Bluegrass”, she’s shown the ambition and drive an artist needs in this competitive music environment.  Young, beautiful, talented, there’s no excuses here, Paige Anderson is ripe to capture America’s heart.

Wyatt Maxwell

Another heartthrob and superpicker bound for great heights and who started out in a family band, Mad Max & The Wild Ones. A natural leader, he’s been out before paying dues by playing lead guitar for the legendary Wayne “The Train” Hancock and can slide into just about any band or vintage style of music and make it shine. The look and technique are all there, but what puts Wyatt into elite company is his sense of style and taste. As a guitar player or as a band leader, the sky is the limit for young Maxwell.

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Another name I must mention is Ruby Jane, who will unmistakably be huge in music someday, so unmistakably in fact it doesn’t even seem germane to put her on this list. She has moved more into the jazz and singer/songwriter world in recent months and years after her time touring with Willie Nelson and Asleep At The Wheel, but is still a name all lovers of great music should keep up with.

Also the beautiful and talented Rachel Brooke may be a little fey for the wide masses, but her voice and talent is nonetheless undeniable. Just like how Emmylou Harris was the hottest commodity in female harmony singers to put on your album for so many years, Rachel could fulfill this role with the pain in her voice and such mastery of taste and control, while exposing her great original songs to the greater world.


Billy Don Burns to Release “Nights When I’m Sober”

March 28, 2012 - By Trigger  //  News  //  13 Comments

Legendary country music songwriter Billy Don Burns, who over his 40 year career has written songs for Willie Nelson, Connie Smith, Sammy Kershaw, and many others has partnered up with Rusty Knuckles Records and will be releasing a new album this summer, Nights When I’m Sober (The Portrait of a Honky Tonk Singer), tentatively set for a July 10th release.

“This kid from South Carolina, Aaron Rodgers, ran me down and told me he was a big fan and wanted to produce a new CD on me.” Billy recently told Outlaw Magazine. “We did that and I am proud of it and I think it is one of my best ones.”

Rusty Knuckles, the home of acts like Hellbound Glory, Jay Berndt, and Ronnie Hymes found it hard to say no when a call from Billy Don came in. “What happens when you get a phone call by an underground legend whose songs have been recorded by individuals such as Willie Nelson and produced albums by Merle Haggard, Tanya Tucker and Johnny Paycheck? Here is what we did, we asked Billy Don Burns to join the team and allow us to release his next album.”

Billy Don Burns & Leroy Virgil of Hellbound Glory

Billy Don Burns produced both a gospel album and a live album for Johnny Paycheck in the late 80′s, both that remain unreleased in one of the many story lines where Billy Don is rubbing elbows with big names and on the right side of real music.

In March, as Hellbound Glory was touring through North Carolina, Rusty Knuckles assembled their version of the Million Dollar Quartet, calling up Billy Don and Ronnie Hymes for a Barn Party Jam Session in Raleigh. Rumor has it some video was taken from the session that will be released in the future.

Stay tuned for more info on Nights When I’m Sober.


What 21 Artists Are Planning To Do In 2012

January 3, 2012 - By Trigger  //  News  //  17 Comments

I think at this point it is pretty much a forgone conclusion that in 2012 we’re all going to die of death. You know, that whole Mayan thing. But I thought just to be on the safe side, just in case we all don’t die, we’ll probably want to listen to some music, so wouldn’t it be cool to know what some of your favorite artists have planned for 2012. So I asked them to tell us in their own words.

Leroy Virgil of Hellbound Glory is…

…working on a new project we’re just gonna call ‘merica. Gonna come out in chapters or volumes, haven’t decided. Songs about real ‘merica. Shitload of new songs. Also shit load of touring. Nationwide February and March.

Possessed by Paul James is…

…balancing two aging dogs, two little sons, 500 Elementary aged children, 4 chickens in coop & 1 debilitated claw toe while releasing a 10″ LP and new full length album. We also hope to be coming to your town whether in France, Tennessee or Canada. RAR RAR 2012!

Roger Alan Wade is…

…recording a new album, “The Last Request of Elijah Rose” – it’s a prequel to “Deguello Motel”. -I’ve got the songs written and just been playing them at home and sneaking a few in on shows getting ‘em broke in for the studio. This one feels good. And hittin’ the road a little more this coming year.

McDougall is…

…going to put out a new album, spend thousands of miles on the road, and meet the girl of his dreams (not necessarily in that order).

Ray Wylie Hubbard is…

Even as a child Ray Wylie Hubbard sensed the need for a hymnal for grifters. In 2012, he will release an album entitled “The Grifter’s Hymnal” consisting of 11 new original songs and a ringo starr cover; therefore fulfilling a life long quest and hopefully defying the Mayan calender.

Bob Wayne is…

…rollin till the wheels fall off …..(insert train whistle)!!! Yeeeehaaw!!!

Rachel Brooke is…

…heading back into the studio to release an analog full length record. And touring more. Also heading to the west coast where the 2012 earthquake will probably kill me.

Sturgill Simpson of Sunday Valley is…

…planning to win…period.

Ruby Jane is…

…going to remember the importance of loved ones and of being there for them no matter the circumstances. That is the most important thing I leaned from 2011.

Whitey Morgan & The 78′s are…

…gonna play over 200 shows, just like we always do. See you at the honky tonk.

Adam Lee & the Dead Horse Sound Company are…

…already hard at work on a new release. We’re also hitting the road once the snow thaws. IN,IL,OK,AR,LA, and TX are up first. We’ll see ya this Spring!

Jayke Orvis is…

…hittin’ the studio, hittin’ Europe, and hittin’ Baby Genius in the penis.

Austin Lucas is…

…working on a follow up to “A New Home in the Old World”,  tentatively with Tennessee legends Glossary as my backup band. I’ll also be heading into the studio with my family this summer for our first ever, official “Lucas Family Band” album. Heading out on the road in a few weeks.

James Hunnicutt is…

…going to kill the world with kindness in 2012 in a rootsy, metal sorta’ way ;)

JB Beverley of the Wayward Drifters is…

…2012 is going to be a big one for me. I have the new Wayward Drifters record, my solo project, the Little White Pills, and Ghostdance. No rest for the weary nor the wicked!

Peewee Moore is…

…releasing his 2nd full length all original album in the Spring to be followed by a 100 + American City Support Tour.

The Ten Foot Polecats are…

…releasing their 2nd album in spring/early summer and will be touring the west coast, southwest, and southeast in early August and a possible movie appearance may occur if all goes well.

Slackeye Slim is…

… planning on doing a bunch of writing, and trying to get a band together in time for a summer tour of the US.

Lonesome Wyatt of Those Poor Bastards is…

…praying for the destruction of mankind and releasing many more hit songs.

Lone Wolf is…

…gonna be working on a new album which should be ready by February, touring the whole southeast with four other acts on a tour named “The Dukes of Juke Tour”, and also will be playing austin in march. His schedule is getting busier by the day…thats right folks, keep yer eyes and ears peeled cause the one man banjo speed demon may be coming to a town near you!!!!!!!!!

Derek Dunn is…

…putting out “Poisonous Serpents”, and touring around the U.S. and Europe.

Olds Sleeper is…

…releasing an album on Sunday, January 1, 2012 in preparation for the intended self-pocolypse of said year. “New Years Poem” will be free.

Willy Tea Taylor is…

…going to throw a perfect 9 innings during the wiffle ball game of his life.


2011 Album of the Year – Slackeye Slim’s “El Santo Grial…”

January 2, 2012 - By Trigger  //  Reviews  //  10 Comments

First off, I want to give recognition to the other two candidates for the Saving Country Music 2011 Album of the Year. Austin Lucas‘s album A New Home in the Old World is excellent, and probably my “favorite” album of the year, meaning the one I’ve listened to the most. Twang Nation named it their Top Pick of 2011, and I can’t argue with that. And Hellbound Glory won last year, and was nominated this year for the superb Damaged Goods, and with the strength of Leroy Virgil’s songwriting there’s no reason to think that every year they put out an album, they’ll be the perennial frontrunner for the award.

In the end though, you can’t deny the masterpiece, the magnum opus that is Slackeye Slim‘s El Santo Grial, La Pistola Piadosa. This was one of those years when one artist shot the moon, released an album that was years and years in the making, tirelessly and patiently crafted, and so bold in it’s vision and goal that it just can’t be denied.

I’ll start by admitting to it’s shortcomings, one of which is not to say it is some rehashed, spaghetti-Western soundtrack as some might conclude after a quick sniff, or not listening into the second half. What it is saddled with is a lack of accessibility, and accessibility is something that ideally a Saving Country Music Album of the Year would have, to act as an ambassador for what independent / underground country can be. Also ideally this award would go to an artist or band that spends more time out on the road, that is taking more risk for the music so they may be in a better position to benefit from accolades.

But it is not like Slackeye Slim is some newcomer studio wizard with no skins. He been around as long as most, and participated in the now legendary “Murder in the Mountains” tours in Montana which went a long way in forging a true underground network in country and roots music. And even though this album may not be accessible from a traditional standpoint, by defying genre or label, it broadens it’s audience beyond preconceived pockets of appeal. I can see folks who just like good music of any form really getting into this album, because it may not just be the best in 2011 in regards to independent country and roots or the country and roots worlds in general, it may be one of the best in all of music.

Any mild concerns one might have with El Santo Grial can be immediately swept off the table by it’s overwhelming strengths; the strength of songwriting, the grand vision and approach, the arrangement and instrumentation. Graham Lindsey should also be given special recognition for helping with this album. El Santo Grial sets such a high bar, it may be years before something impresses us like this again, and you have to go back years, for me all the way back to Hank3′s Straight to Hell in 2006 to find a rival, or peer.

I’ve given many albums two guns up, and have and will hand out many Albums of the Year. But there’s only two albums I’ve reviewed that I’ve ever felt confident enough to refer to as masterpieces, and Slackeye Slim’s El Santo Grial, La Pistola Piadosa is one.

(Read El Santo Grial Review)

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Purchase El Santo Grial directly from Slackeye Slim

Preview & Purchase Tracks from Amazon

El Santo Grial is also available from Farmageddon Records.


Saving Country Music’s Best Live Performances of 2011

December 5, 2011 - By Trigger  //  Reviews  //  41 Comments

When I sat down to name the top 10 live performances of 2011 as seen through my eyes, I didn’t know what a mess I was making for myself, and it wasn’t until then that I realized what a power packed year for live music it has been. My 10 stretched to 15 fast, and I’m still leaving out acts like Hellbound Glory, Lucky Tubb, and Ray Wylie Hubbard.  I will be the first to tell you that is bullsh, but the line had to be drawn somewhere.

Unlike the Album of the Year and Song of the Year, with my inability to see every live performance, this is simply based on my own experience. However live performances always go into consideration for other awards, like the three solid Hellbound Glory shows I saw were considered when nominating them for album of the year.

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15. Ruby Jane & Graham Reynolds – The Continental Club Austin, TX

I really enjoyed the Sundays each month that Ruby Jane played historic Gruene Hall down in the heart of Texas, but it was a random night at Austin’s Continental Club that gave rise to her standout performance of the year with composer Graham Reynolds. Ruby’s stellar musicianship and passion on fiddle is hard to match. The flourish at the end of this song was something to make the hair stand up on the back of your neck.

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14. Austin Lucas SXSW Showcase

This is what South by Southwest is designed to do: take people who are involved in the music business, and put them in front of the artists in intimate setting to bypass all the press release and preview track bullshit so you can decide if an artist is worthy of your attention or not. The Revolution Bar in gentrifying east Austin was the perfect place to catch an intimate performance by Austin Lucas, joined only by his sister Chloe who supplied sublime harmonies and banjo. His simple, honest, and heartfelt performance proved to me this was an artist I needed to bring into the Saving Country Music fold.

They screw up in the middle of this, and it is still awesome. Listen to how quiet it gets in the room at the end.

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13. Charlie ParrThe Pickathon Festival, Portland, OR

Speaking of hushing rooms and heartfelt songwriting, by evoking character through his music like few others I’ve ever seen, Charlie Parr and his guitar suck you in with songs of heartache sung with immeasurable soul. Charlie doesn’t sing about subjects in third person, he becomes the subject of his songs in an uncanny channeling of character, and makes the story flesh and bone right before your eyes.

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12. Whitey Morgan & The 78′sBloodshot Records SXSW Showcase

Whitey Morgan played the Pickathon Festival as well and had two excellent sets, but the standout show for me happened back in Austin during Bloodshot Records’ annual showcase at the Red Eye Fly, where Whitey Morgan & The 78′s were booked as the headliners. The sound was positively awful that night. The Waco Brothers played their whole set with the only working speakers being their monitors on stage. Meanwhile Whitey and the boys were sitting in their van, passing a bottle and anticipating a train wreck by the time they took the stage.

Whitey climbed on stage and took no prisoners, cussing and swearing the stage hands straight before the even did anything wrong. Bloodshot owner Nan had her face in her hands, worried Whitey was about to make a scene when what he was really doing was making sure the ship was righted before they started, and trust me, after Whitey put the fear of God in everyone, it was. Then they delivered the best set I have seen them play, and playing the headliner spot of the Bloodshot Records showcase, that is when I knew Whitey Morgan & The 78′s had arrived.

Here they are sharing the stage with legendary Eddie Spaghetti of the Supersuckers.

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11. Micah Schnabel of Two Cow Garage – SXSW Showcase

Maybe not country, but nonetheless mind blowing was Micah Schnabel, who when PA issues kept his band Two Car Garage from plugging in, he grabbed his acoustic and did the solo thing like few others can. This guy is one of the most authentically-passionate performers on stage I’ve ever seen. As I like to say: if Possessed By Paul James gives birth on stage, Micah Schnabel commits suicide on stage.

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10. The Goddamn Gallows/Jayke Orvis/ James Hunicutt – Beerland, Austin, TX

I saw this same lineup, at the same place, two different times this year, and I still did not get my fill. The perfect traveling amalgam of music, it starts off with James Hunnicutt playing solo, then Jayke Orvis taking the stage with Hunnicutt, Fishgutz from The Gallows, and Joe Perreze on banjo making up the “Broken Band,” and then at some point they are all on stage as The Goddamn Gallows.

And then there’s fire.

Joined here on stage by Gary Lindsay.

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9. Slim Cessna’s Auto Club – SXSW Showcase @ Spiderhouse

For years, the two best bands to see live have been Th’ Legendary Shack Shakers and Denver, CO’s Slim Cessna’s Auto Club. In support of their new album Unentitled they made their way down to SXSW and played a set mixing their new pop mocking songs in with their long-time favorites. This band is mind blowing every time. (video is not the best; only one I could find from the show)

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8. Hank3Revival Fest – Austin, TX

In the middle of a nearly year-long hiatus from the road, Hank3 drove out to Austin for a one-off show at The Revival Festival, and it was a good one. Not having to save anything for the next day and having nothing to recover from the night before, and dragging the badass chicken-picking half-blind maestro Johnny Hiland with him out from Nashville, Hank3 threw down the best live show I’ve seen from him in the post-Joe Buck era. It was one for the ages.

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7. Th’ Legendary Shack Shakers / Hillbilly CasinoMuddy Roots Festival

To see either of these bands alone is an opportunity you cannot pass up. But to put them together back to back was a music cream dream come true. These two bands and their dynamic frontmen were instrumental in the revival of lower Broadway in Nashville, and the same dynamic that gave rise to the abominable frontman of lower Broadway was on display Sunday night at Muddy Roots.

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6. Lukas Nelson & The Promise of the RealWillie’s 4th of July Picnic, Ft. Worth, TX

Just about every one of Willie Nelson’s kids plays music in one capacity or another. How many do it well is another story. But Lukas Nelson and his band The Promise of the Real is the real deal my friends. Far beyond riding coattails or his daddy’s name, 2011 in many ways was a coming out party for Lukas Nelson, and his performance at the 2011 Willie’s 4th of July Picnic / Country Throwdown picnic proved why. The man simply stole the show.

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5.Various Artists – Muddy Roots Festival Late Night Jam

This might be the biggest live music memory of 2011, but without any specific artist to attribute it to, or any other real way to quantify it, I’m just not sure where to put it on this list. What I do know is when you get a legend like Wayne “The Train” Hancock leading JB Beverley, Banjer Dan, all of Hellbound Glory, and who knows else, it’s hard to leave it off the list. It may have not been pretty, but it certainly was legendary.

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4. Marty Stuart – Gruene Hall, Gruene, TX

This was the performance that convinced me that Marty Stuart might be the one to save country music (read full review). This wasn’t a punk gone country show, or a neo-traditional swing back bit, it was simply pure, true country, yet dripping with energy, an engaging nature, attitude, and gospel soul. And his band The Fabulous Superlatives might be one of the best collections of country talent ever assembled. Simply put, this was the best set of straightforward country I’ve seen in years.

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3. Possessed by Paul James – Muddy Roots Festival

First off, the fact that this moment sits at #3 for the year tells you just what a power packed year for music experiences in underground roots music 2011 has been, because really, this moment sets itself apart in the musical experiences of a lifetime.

I saw Possessed by Paul James play live 6 times from late 2010 until now, and in that period, I watched a rebirth of one of the most dynamic live performers I’ve ever seen. Voice issues put him on hiatus for a bit, and when he started performing again, there was a slight timidness, a lack of confidence in his new vocal reality he was struggling with. But over that period, the confidence and abandon came back in full force, to where now I cannot think of another solo performer I would place above him in ability and consistency. Possessed by Paul James delivers every time, and I have come to think of him as a true headliner, and a true legend in the live and recorded context. They say that Possessed By Paul James gives birth to his songs on stage. In 2011 we also saw a PPJ resurrection.

By the end of his Muddy Roots set, some folks were in tears, and everyone was talking about the mysterious burst of wind on that blisteringly hot day that hit the tent right as he began to play. Call that mysterious wind burst a sign of the divine, or quantify it by explaining the dramatic atmospheric wind shift that preceded a change from the hot weather to a tropical disturbance ushered in by Tropical Storm Lee that moved over middle Tennessee. Either way, PPJ channeled that energy through his music, and changed people’s lives.

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2. Sunday Valley – The Pickathon Festival, Portland, OR

I really don’t know what to say here, except that Sunday Valley was the best live band I discovered in 2011, and very possibly might be the best live band right now in all of country music. I know that may come across as a platitude, but I believe it, and to try and use words to describe their live experience almost seems insulting; you just have to experience it yourself. Sturgill Simpson is country’s version of Jimmy Hendrix or Stevie Ray Vaughan. Mark my words, 2012 might be the year of Sunday Valley. (read more in live review from Pickathon)

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1. Justin Townes Earle – The Parish, Austin, TX

I will start this off by saying I know some people will read this having also seen Justin Townes Earle at some point in 2011, and thinking I’m crazy for putting him here at the top spot. That is because JTE can be hit and miss live, because JTE has a drug and alcohol problem.

When I saw him live at SXSW in 2010, that is when I first recognized a sharp dropoff in the quality of his live show, and a few months later, called him out on it in connection with a rumored drug problem. Later that year in September, he got arrested in Indianapolis after tearing up a dressing room, and brawling with cops. Shortly therafter came a rehab stint, and by January of this year, he was back on tour. We know from subsequent stories that between now and January, JTE had another relapse with heroin, and a relapse while on tour in Australia, and I’ve heard mixed review of his live shows.

I am not omnipresent, so I can’t speak on all his performances, but in Austin, TX, Justin Townes Earle put on the performance of his lifetime. Nearly a year later, I still get chills as I sit here and write about it. Stone cold sober, having just been from hell and back, his own mortality and career hanging in the balance, Justin Townes Earle sang from the heart like nobody else I have ever seen, or possibly ever will see. Since the performance, I have had to come to grips with the fact that I may never be moved by another performance for the rest of my life, like the way I was moved that night. (read review)


Nominees for 2011 SCM Album of the Year

November 28, 2011 - By Trigger  //  Reviews  //  115 Comments

There is nothing I take more seriously than naming what I think is the best album of any calendar year. The Album of the Year offers a guidepost for future generations to find the best music that was forgotten by the mainstream, while at the same time being a current ambassador to the mainstream to illustrate what great music they are overlooking. An Album of the Year can’t just be the best album to listen to, it has to be impactful, influential, and/or groundbreaking.

The decision of who to nominate is always difficult, but this year it seemed especially difficult because of the additional albums I could have included beyond these three. Both Rachel Brooke’s Down in the Barnyard and Lone Wolf’s self-titled album were excellent, breakthrough releases. Cody Canada & The Departed’s This Is Indian Land I thought was especially strong, though I may be alone in that thought. And there were a couple of landmark blues albums this year, Husky Burnette’s Facedown in the Dirt, and Scott Biram’s Bad Ingredients, and make no mistake, though it would have to fight an uphill battle, a blues album could win.

But in the end, if I had included one of those albums, I’d have to include them all to be fair to the requirements of all the nominees, and that would have diluted attention from the three albums that truly have a chance to win. And certainly those albums and many more will be included on the “2011 Essential Albums List” forthcoming.

Saving Country Music is a benevolent dictatorship, and I will make the end decision of the winner, but feedback will be taken into strong consideration, so please, leave your votes, comments, your own candidates, or write-in votes below. Just don’t make fun of the cheesball “2011 Album of the Year” logo I slapped together, or you comment will be disqualified.

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Austin LucasA New Home in the Old World

Of all the albums in 2011, this was the one I listened to the most. It is one of those albums where a few of the songs hit you the first time through, then after you’ve worn out those songs, the ones you didn’t like at first grow on you, and by the time those wear out, you’re favorites in the first place are renewed once again until 6 months have gone by and you never stopped listening. In this day of so much parody in music, this is such a rare feat.

A New Home in the Old World scores two guns up on every element of this album: the songwriting, the singing, the instrumentation, the production and accessibility. You can put this album on for one of your pop country friends, and they will like it, and you will too, and Lucas proved his wide appeal by appearing on Willie Nelson’s Country Throwdown Tour this summer. And it is solidly country, pure country, with steal guitars and fiddles and down home, but not apish harmony vocals, even though he comes to us from a punk music background, and through the Suburban Home Records scene.

Simply based on appeal, and our ability to hold up an album to Music Row and say, “See, there is music out there that is better, but still widely appealing, that could save your business model,” there is no better album in 2011 than A New Home in the Old World. (read review)

Slackeye SlimEl Santo Grial, La Pistola Piadosa

El Santo Grial is a masterpiece, a magnum opus, of the highest proportions. And it’s not just that this is the greatest masterpiece of 2011, it very well may be the best masterpiece that has been put out in the independent/underground country world, ever. And I’d go even another step to say there’s a good chance it will never be rivaled in that regard. The artistry, the vision, and the patience and uncompromising approach to see it through makes El Santo Grial one for the ages.

However artistry and vision is one thing, and appeal is another. Is this an album you can play for your pop country friends? Uh yeah, probably not. They’re not ready for it, and even many people who are not pop country fans are probably not ready for it. Ulysses may be the greatest novel of all time, but damn if most of us can’t make it past the first chapter. But even though El Santo Grial may not have mass appeal, I do think it could appeal to a mass variety of people by transcending genre and traditional ideas of taste, like what Tom Waits does, until it does command a big audience. And I do think there are songs here that can be picked out of the work and stand alone.  (read review)

Hellbound GloryDamaged Goods

Originally I was not going to include Damaged Goods on this list; the 2011 Album of the Year was going to be a two horse race. Don’t get me wrong, I think the album is excellent, but I just don’t know if it is their best effort. I’m not saying it “isn’t” their best effort, I’m saying “I don’t know” if it’s their best effort, like I can say about A New Home and El Santo Grial. And I have to balance that against the fact that Leroy Virgil wanted to make an album that was an approximation of their live show, which these days is fairly stripped down because of budgetary restraints.

But when you take into consideration influence and appeal, it would be an injustice to leave Damaged Goods off. Austin Lucas could blow up, but Hellbound Glory would blow up if the right buttons were pushed by someone who has the power, and understands their aesthetic. Leroy Virgil could be the next Justin Townes Earle, a solid underground success story, or he could be the next Alan Jackson. I just wish he knew that the possibilities were in arms length of him, and I wish I knew how to get him that last step–not to afford him arbitrary measures of success like money and fame, but because the world needs Hellbound Glory’s music. (read review)


Muddy Roots + Hillgrass Bluebilly + SCM = XSXSW 5

November 22, 2011 - By Trigger  //  News  //  14 Comments

I am very excited to announce a unique partnership between Saving Country Music, Hillgrass Bluebilly Records & Entertainment, and Muddy Roots Music (The Muddy Roots Festivals) to bring together the 5th Annual XSXSW showcase, aka XSXSW 5, as part of the annual mid-March gathering of the tribes in Austin, TX known as South By Southwest.

The idea is to create a larger and more robust footprint for underground country and roots music at what is the yearly premier music event for the independent music industry, held in the “Live Music Capital of the World.” Unfortunately over the years, SXSW has become more “industry” and less “independent” as the festival has grown, and it has become a logistical nightmare for bands and fans alike to attend. SXSW is in essence a “pay to play” event, asking for non-refundable money for artists to be considered for officially-sanctioned showcases, and the event overtakes the entire downtown corridor of Austin for official SXSW use.

The spirit behind XSXSW is to offer fans and artists an alternative to the SXSW madness, while still giving them the opportunity to take advantage of the massive collection of talent, resources, and networking capabilities SXSW affords, and unlike many SXSW events, it is completely open to the public. This is the 5th year Hillgrass Bluebilly has thrown the XSXSW event, and Saving Country Music and Muddy Roots are coming on board to give the showcase that much more support and impact. Previous XSXSW acts include Los Duggans, Left Lane Cruiser, Hillstomp, O’Death, Austin Lucas, & The Harmed Brothers.

And this is not just important to artists and people in and around Austin. XSXSW 5 will be a national event, with a national focus, yet still in the original spirit of SXSW of showcasing local talent next to national acts. For folks from Texas, the Southwest, or anywhere else that can’t make it to other big independent roots events like The Muddy Roots Festival, Farmageddon Fest, The Deep Blues Festival, etc., this might be your chance to take part in a large scale event. And for those that can’t make it at all, the event will be broadcast right here on SCM LIVE, giving rise to national, and international participation via the web.

And since the event is being held at The Austin Moose Lodge on the east side of town, just outside of the SXSW madness, it offers an alternative to Austin locals who regularly avoid the annual festivities because of the headache they create. Ample parking, huge indoor/outdoor facilities, 3 stages, yet not too far out of the city makes the Austin Moose Lodge the ideal location. And as Hillgrass Bluebilly founder Keith Mallette states, The Moose Lodge embodies:

…a revival of “lost America”, for our friends and family to have a place of our own. A place that IMPROVES & BUILDS FOR US as we bring them beautiful, exceptional music that you just flat out cant get anywhere else… and prove once again that you never know where a song might take you!

This initial lineup of bands is just the tip of the iceberg of what the two day event will include, but we wanted to make folks aware of what will transpire. Florida’s Cracker Swamp Productions is also involved, and other entities and sponsors will be coming on board soon. Stay tuned to Saving Country Music for more announcements and information on XSXSW 5 as March gets closer.


Album Review – Hellbound Glory’s “Damaged Goods”

November 15, 2011 - By Trigger  //  Reviews  //  32 Comments

Frequent visitors to Saving Country Music know how much of a proponent of Reno, NV’s Hellbound Glory I am. Ever since I heard their second album Old Highs & New Lows over a year ago, there may be no band I’ve pushed harder for, and the album went on to be SCM’s 2010 Album of the Year. If you want to accuse Saving Country Music of being the house organ of Hellbound Glory, guilty as charged. I’m not just drinking the Hellbound Kool-Aid, I’m slapping two fingers on the inside of my arm, looking for a vein to mainline the stuff right in.

Their third official album Damaged Goods offers a shift in their approach, without sacrificing the authentic themes, energy, or the peerless wit in the songwriting that makes Hellbound Glory so engaging. The exit of the band’s drummer “Chico”, and a slightly, and I emphasize slightly tamer approach to the lyricism brings a lot more of an open sound to the band, and a new focus on what has always been their best asset: the songwriting prowess of frontman Leroy Virgil.

Damaged Goods is an excellent album with some excellent songs. The standouts are the heart-pumping opening track “Bastard Child”, and the gear-shifting, slow and soulful “Better Hope You Die Young” that embodies the heart of the Damaged Goods theme. The funnest track on the album is “She Left Me In Modesto”, where Virgil proves he can not only flash his pen with witty turns of of phrase, but also with telling a story. The song is so smart, you can’t help but picture yourself the protagonist, with the big payoff lyric at the end making you laugh out loud. “Lost Cause” is an upbeat song with a downbeat message, built on a bed of steel guitar and sad realism.

I caution, at first smell, the reaction from some familiar with Hellbound Glory will be that there’s no drums, and no drugs, and already I see this as a big talking point about this album going into the release. There is drums, or at least percussion on every song. They could have added more drums, or possibly even had Chico play on this album, but instead decided to take a minimal approach to compliment the songwriting, and to more fairly represent what they do live, which these days features no drummer from financial necessity, just Leroy Virgil sitting on a bass drum backwards to keep the beat.

And the drug references are still there, just slightly more subtle. Hellbound may have been unfairly pigeon-holed by some from Old Highs & New Lows that purposely took songs laced with drug references and bunched them together. But drug references were never all the band was about.

Good songwriters know how to relate to people with wit and authentic subjects and language, and that is what Leroy Virgil does, and did. He works with the language and themes of our time, but in no way is it outside of the boundaries or modes country music has always had. Hank Williams sang about “Honky Tonkin’,” Johnny Cash sang about pills and cocaine. Leroy sang about Oxycontin in the previous album because that is what people can relate to today. Now, as Leroy said himself about Damaged Goods when I interviewed him recently:

…it’s not so much about drugs, but the people that do drugs, the people that are in this scummy lifestyle that we live, why they live that way, and what’s going to happen if they continue living that way.

…taking the cautionary tale-approach to sin that has been a central theme to country music since it’s inception.

I would be lying if I called this my favorite Hellbound Glory album, but I’d also be lying if I said the more stylized and subtle approach doesn’t make this album so much more accessible that it opens Leroy Virgil and Hellbound Glory up to the broader recognition they deserve. The fact that Hellbound Glory, as big as they may be in certain circles, is still a relative unknown, is the clearest evidence I can procure that country music has no idea what it’s doing, and has no working system in place to mine and develop talent. At the least BMI and ASCAP should be shuttling suits out to Reno to poach Leroy’s brain for this high Sierra gold that would instantly raise the bar of songwriting in the mainstream country world.

But that’s where the big question about Leroy and Hellbound come in. Is that what they want? As much as I want to blame the music machine for their idiocy of overlooking Leroy, I think a bigger opportunity is there for Leroy if he wanted it, and was willing to work at it. He’s good enough to be noticed. But his unwillingness to compromise, and his concern that if he systematically changes who he is then the wit would stop flowing, has made him reluctant to aggressively pursue “success” in whatever form.

As for me, I’ve done all I can from my little podium here folks. Whatever cred the name Saving Country Music has, it is behind Hellbound Glory 100%. And now that they have an album where there’s no excuses, the undeniable talent of Hellbound Glory and Leroy Virgil is there for anyone with an authentic country heart to see. It is time for someone to step up. They don’t deserve the SCM Album of the Year, they deserve something better, something more than I can give. It is time for them to graduate, for someone a step higher to step up, put these boys as the opener on a serious tour, get them out of having to battle with a juke box full of rap music at brokedown bars, but also someone who understands their element, and how a loss of authenticity would be their demise.

As for me, I’m out of superlatives, except for one more.

Two guns up!

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Purchase Damaged Goods on vinyl with download from Rusty Knuckles.

Preview & Purchase Tracks on Amazon


Viral & Serial Videos Important Tool to Independent Artists

November 6, 2011 - By Trigger  //  Random Notes  //  20 Comments

When Toby Keith went to make a video for his song “Red Solo Cup”, he decided to give it a “viral” feel, trying to take advantage of a trend in video production that many independent artists use out of necessity. “Viral” videos started as a phenomenon in the amateur ranks, and then became a stylistic approach by independent artists who could not afford big video productions.

Though the “Red Solo Cup” video starts with a fuzzy screen and a “record” light blinking in the corner, make no mistake, the video was painstakingly planned out and produced. But the “viral” feel of the video, and of the song itself, (Toby calls it “the stupidest song he’s ever recorded), is probably a big reason the video has been #1 on CMT for going on 2 weeks. However you won’t find the song “Red Solo Cup” anywhere in the Billboard charts, at least for the moment. And if you do in the future, it will likely be from the strength of the video.

In late August, Shooter Jennings released a video for his song “Outlaw You”, shot in a true, one-take “viral” format that rocketed to the top 5 of CMT’s video chart with no attention paid to radio at all. The postulate that YouTube is the new radio may be more true than ever. It was thought “video killed the radio star” went out of vogue when MTV pulled most of its music programming for reality TV and began to focus myopically on the teenage demographic. Sometime in the late 90′s, videos became an elective in music. But since the death of MySpace, and since Facebook pays little attention to the social networking aspect of music in a direct manner, YouTube might be music’s most dominant social networking tool.

Following this success and attention to video, many independent artists are making video a bigger priority. And not just one video, but multiple videos, “serial” video releases if you will, of both viral and more conceptualized varieties, to keep their music in the forefront of fan’s minds over a longer period than just an album’s initial release. Dale Watson released an original video for each song from his recent The Sun Sessions album. Through Paste, Scott H. Biram has been releasing a video a week from his latest Bad Ingredients project. And Hellbound Glory has just released two videos from their upcoming Damaged Goods record, with more on the way. Both Hellbound videos are directed by Blake Judd of Judd Films, and edited by Cody Meek.

As the filmmaker for some of Scott Biram’s new videos, all the new Hellbound Glory videos, and Shooter’s viral “Outlaw You” video, Blake Judd has a good perspective on the resurgence of videos in music.

From my point of view,  the game is changing. Venues can’t promote like they used to, fans don’t go to show as much, and bands aren’t getting the exposure on the road that they once did. It’s all moving online.  You can reach far more people through online content now than you can on the road.  You still have to get on the road, even though most bands lose money or just break even, to build that fan base and get to that great but small group of people that still go to shows, to help spread the word and make personal connections. But the point is, sometimes less is more with online content, and at the same time, more is better.

And I don’t know exactly what the term “viral” means. They’re just single-take or two-take videos that give you a feel of a band and their music.  Like I keep saying to some of these bands who need content, less production and more videos that just represent their music in a solid manner will benefit them greatly.

Judd Films will be filming videos this week for Shooter Jennings’ upcoming album Family Man due in early 2012.


Leroy Virgil of Hellbound Glory Talks “Damaged Goods”

October 26, 2011 - By Trigger  //  Random Notes  //  17 Comments

The release of Hellbound Glory‘s newest album Damaged Goods on November 15th symbolizes a big opportunity for independent country to put its best foot forward in the form of one of the most cunning and engaging songwriters country music boasts at any level.

Leroy Virgil is not a post-punk recovering metal head with neck tattoos. He’s not a period piece with an anachronistic approach. He’s not aping Waylon. He’s just a simple and honest guy with great songs who even before the release of this album, is already making noise with people outside of the predictable underground country music scenes with the sheer power of the words to his songs. And now he has a project not saddled with such a volume of salacious language, but without sacrificing the authenticity and edge that made Hellbound Glory engaging in the first place.

I talked to Leroy just before a show at The Dirty Dog Saloon in Austin, TX on Oct 21st about Damaged Goods, and the impact the different approach to the music might have.

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Triggerman: You have a new album coming out in a couple of weeks called Damaged Goods. Why don’t you tell folks a little bit about it.

Leroy: Well I think it’s our best work yet. I think it’s a little bit deeper than the other records, a little bit more hardcore, but a bit more understated. Obviously it’s not so much about drugs, but the people that do drugs, the people that are in this scummy lifestyle that we live, why they live that way, and what’s going to happen if they continue living that way.

Triggerman: Chico the drummer is no longer in the band. Some of the tracks have minimalist drums, and some have full drums. What became the drumming approach when Chico left? Or did it kind of work in your advantage to change the sound up, addition by subtraction so to speak?

Leroy: Hated to see Chico go. We were able to turn things down a little bit. I wanted to make something a little bit less in-your-face. Love Chico but he was just sick of the road. Some of the songs on the album I wanted to sound more like they do live, something more quiet, more lyric-driven and instrument-driven. On the other albums Chico’s just an animal. He’s a great drummer, but he’s a loud, powerful drummer.

Triggerman: So what came first, was it Chico leaving or a new approach? Because I know for a while you were talking about doing a project called “The Excavators.”

Leroy: Basically The Excavators became Hellbound Glory. The Excavators was something I was doing on the side back in Reno just to stay working. I just wanted to be able to hire fewer musicians and still be able to work. When Chico left the band, I knew it was going to be hard to replace him with anyone else, so I set up a completely different live show. The live show is basically Hellbound Glory, but it’s also The Excavators, and my new band “The Damaged Good Ole Boys” all in one.

Triggerman: In this new album there’s not the excessive drug references, but I remember you saying about Old Highs & New Lows, that you had taken all of your songs that had drug references and compiled them in that way, and I think maybe that was misleading to some people.

Leroy: Absolutely. That album, some people might think we’re a one trick pony. This album, there are songs about drugs, but it’s just more a picture of Reno nightlife.

Leroy Virgil (left) & Hellbound Glory

Triggerman: People may get the wrong impression though if the first two things they take from the new album is that Chico is gone, so there’s not the pounding drums, and also there’s not as many drug references. Some people might think there’s no energy, or that “they’ve changed” or whatever. But when you listen to Damaged Goods, there’s still a lot of energy and bite to it. How did you keep that energy while losing a great drummer, while taking tricks out of your bag so to speak?

Leroy: We just bring it no matter what. We’re all energetic people, we all live these songs. I just think the album is more soulful more than anything. So hopefully people get a better chance to listen to the lyrics.

Triggerman: As far as the new direction with the new album, in the last couple of years, things have changed in your personal life, you have a wife and kid now. I guess the old chiche is you have a wife and kid and you start to settle down.

Leroy: I don’t have an option to settle down, this is all I know to do, is to play music. And it’s fucking hard obviously, the home life is difficult being away from my kid so much. But I think having a kid has just made me more hardcore.

Listen to “You Better Hope You Die Young” from Damaged Goods

Triggerman: I’ve heard some other songs live that are not on this album. Do you have more material coming up?

Leroy: Yes. In fact I’ve got a new song I’m going to play tonight called “Small Town Shit Going Down.” This next album is going to be about small town life, that isn’t on TV, that isn’t being covered by fucking Jason Aldean or Toby Keith. Because when I travel around this country, and we’ve been traveling through the country the last 6 months, playing shit towns and shit honky tonks where they have to play rap music between our sets. And we go out and party with these people, and their life isn’t being portrayed on CMT. I want to do something that’s a little more real deal, gritty, down home.

Triggerman: What is your hope with this album? When it comes to Hellbound Glory, there seems to be a consensus amongst critics that it’s great stuff. But as you go from town to town, there could probably be more people there. Hellbound Glory is a critic’s favorite, but that doesn’t always translate to people at shows, or money for your kid.

Leroy: Well I’m just going to keep slogging away at it the only way I know how: work hard. This is the hardest way to make easy money. I love what I do. I don’t get paid to play music, I get paid to drive around with stinky bastards in a pickup truck.

Triggerman: Anything else you want to tell people about the album?

Leroy: Well, just listen to the words.


Hellbound Glory Release ‘You Better Hope You Die Young’

September 30, 2011 - By Trigger  //  News  //  17 Comments

Ahead of the release of their new album Damaged Goods, Reno, NV’s Hellbound Glory has released a new song from it called “You Better Hope You Die Young”. The song can be heard in it’s entirety below. Damaged Goods will be out November 15th on Rusty Knuckles, and 500 copies will also be available in a limited-edition vinyl LP with a digital download card. The album will be available on Amazon and iTunes, and CD purchase from the band on the road. You can pre-order the vinyl here.

Hellbound Glory – You Better Hope You Die Young by RustyKnuckles


Hellbound Glory’s “Damaged Goods” Out November 15th

September 16, 2011 - By Trigger  //  News  //  15 Comments

Saving Country Music’s 2010 Album of the Year winner Hellbound Glory has finally set a release date for their much-anticipated third record. Damaged Goods will be out November 15th on Rusty Knuckles, and 500 copies will also be available in a limited-edition vinyl LP with a digital download card. The album will be available on Amazon and iTunes, and CD purchase from the band on the road. You can pre-order the vinyl here or with a new Hellbound Glory T-shirt.

Damaged Goods cover art & track list:

1. Bastard Child
2. White Wolf
3. You Better Hope You Die Young
4. Til The Lights Go Out
5. Lost Cause
6. Knocked off the horse
7. She Left Me in Modesto
8. Gonna be a Goner
9. Barroom Beauty
10. Livin’ with the Shades Pulled Down


Top Albums of 2011 So Far

June 11, 2011 - By Trigger  //  Reviews  //  63 Comments

(Saving Country Music Radio will be playing songs from the Top 2011 Albums so far tonight (6-11-11) on The Real Deal.)

Well, we’ve just about reached the half way point of 2011, and let me level with you folks, so far this has been a down year for music. Yes, there’s been a few good projects and some surprises as well, but generally speaking it’s been pretty bleak compared to 2010, which was such a bumper year for music. Last year I thought my head was about to explode from all the great music. Well, we’re paying for it this year.

There are some interesting projects coming up, a new Hellbound Glory album, new William Elliot Whitmore, Scott H Biram, Gillian Welch, and Pokey LaFarge, and a new country album from the always polarizing Shooter Jennings that will be fun to see how it is is received, but below is a list of my top 2011 albums so far. Please note, there are a few albums already out that I have not reviewed yet. This will only include previously-reviewed albums.

Austin LucasA New Home, in the Old World (read review)

If you’re looking for a top-dog, and one with twang, then this album might be the winner. Excellent songwriting, beautiful singing and harmonies, a well-produced album with top-notch instrumentation and performances, and a good variety in the songs. Something about this album I’ve noticed is that while I gravitated away for the more rock-style songs on the album, many single these out as the best tracks. That means this album has a little something for everyone. Austin Lucas will be on Willie Nelson’s Country Throwdown tour this summer, and he deserves this honor after putting out such a superb album.

Slim Cessna’s Auto ClubUnentitled (read review)

This album is not for everyone. Being more in the Gothic country/Americana mold, it contains some natural barriers from being a true country album of the year. But as far as the project that so far has spent the most time in the listening rotation and shows the greatest amount of creativity and originality, this is the one. Being their dark, twisted take on pop music, the album has a strange addictive and accessible quality to it as well.

Lone WolfLone Wolf OMB (read review)

If you’re looking for the album that strips it all down and is simply an earth quaking, booty shaking primal experience, this is it. You may not think that one man and a banjo could be that engaging, but by the end of Lone Wolf OMB, you will be a believer.

Rachel BrookeDown in the Barnyard (read review)

The best album so far with a conceptualized approach and a cohesive theme that makes the collection of songs better than the sum of their parts. Well-crafted songs and lyrics are custom-fit with Rachel’s magnanimous voice in a very wise approach. And this is also the premier neo-traditionalist offering so far, going all the way back to modes of The Carter Family. If you’re looking for an album to get rowdy to, keep moving. If you’re looking for an album to be listened to and not just heard, then listen to this one.

Little Lisa DixieLittle Lisa Dixie (read review)

An excellent combination of smart and fun, Little Lisa Dixie’s premier, self-titled release is cast in the mold of the classic underground country album: a homage to the traditional approach to country music with a “devil, gun, and whiskey” edge. Little Lisa also throws a rockabilly vibe in on a few songs to keep things spicy.

Jimbo MathusConfederate Buddha (read review)

I have a sense that I’m going to have to drag people kicking and screaming to this album, but that’s OK, I like a challenge. Jimbo Mathus was keeping the roots alive and combining country, blues, and rock when many of the other folks in this list were still in Jr. High. Jimbo “keeps it real” in the truest sense of the phrase, is an American original, and this is a very solid, enjoyable album.

Caitlin RoseOwn Side Now (read review)

Another dark horse that may have the best songwriting from a lyrical standpoint in the whole lot and performed with a gorgeous voice. This album may be a little more placid than what folks are used to me recommending, but it is worth giving more than one chance.

Other albums to check out would be Ted Russell Kamp’s Get Back To The Land and Wanda Jackson’s The Party Ain’t Over and Left Lane Cruiser’s Junkyard Speedball.

Two albums that I feel weird trying to judge because they contain mostly previously-released material, but are worth checking out are Bob Wayne’s Outlaw Carnie, and Joe Buck’s Piss & Vinegar.

What are your top albums so far? What good albums have I’ve missed? Which albums are you most looking forward to for the rest of 2011?


Hellbound Glory New Album “Damaged Goods” Coming

May 26, 2011 - By Trigger  //  News  //  23 Comments

Reno, Nevada’s Hellbound Glory has announced plans for a brand new album. The working title is Damaged Goods, and it is set to be out by the end of this summer. But wait Don Pardo, there’s more. Frontman, singer, and songwriter Leroy Virgil is also working on an EP for his more signer/songwriter-oriented side project called “The Excavators” that has the tentative title of Underground.

Hellbound Glory’s 2010 offering Old Highs & New Lows was a critic’s favorite, winning praise from The 9513 and Country California to name a few, and was Saving Country Music’s 2010 Album of the Year. With Old Highs and their freshman album Scumbag Country, Leory Virgil proved himself a preeminent songwriter, backed by a badass stable of musicians.

The band is also currently booking a European Tour for November and December.

Saving Country Music captured a few new songs during Hellbound’s 2011 South by Southwest appearance that we might see on one of the new projects, and there’s a couple more on the official bootleg Live From The Cracker Swamp.



Album Review – Hellbound Glory’s “Scumbag Country”

April 25, 2011 - By Trigger  //  Reviews  //  26 Comments

Leroy Virgil is one of the best songwriters in all of country music right now, and the 2010 album from his band Hellbound Glory called Old Highs and New Lows was good enough to get attention from mainstream news outlets, along with being named Saving Country Music’s 2010 Album of the Year.

Old Highs and Hellbound came into my music world at the same time, so attention for their first major release from 2008, Scumbag Country, got pushed aside for the more up-to-date project. But having recently seen the band at South by Southwest, and experiencing them Live From The Cracker Swamp, it spurned me to go back and really delve into the recorded versions of these songs they were kicking ass with in concert. And I dare say, as much as I’ve showered Old Highs with praise, Scumbag Country might even be better, or at least just as good, which still means it’s grade A, legendary material.

They say you have your whole life to write your first album. That must mean Leroy Virgil can write a lifetime’s worth of good songs in a year. A great album must have hits, and it must be solid throughout. It must be fun to listen to, but also hit you deep and be done with soul. It must have some spice: a degree of diversity to keep each song fresh to the ear and impactful to the mind. And to be a great album, not just good, it must be truly original, and when you dig deep in it, convey a theme. With Scumbag Country, it is check, check, check, check, and check!

Good picking and playing helps too of course, and this album has plenty of that evidenced in the first four high tempo songs that come at you like a bull out of the gate. If you’re going to write a theme song for your band dammit, it better be good, and that is exactly what the song “Hellbound Glory” is. Though Leroy Virgil and the boys might be best known for excellent songwriting conveyed with a Waylon-like approach to country, I hear a lot of Jerry Reed in Scumbag Country. Waylon made his hay in half time. Jerry did it in double. And with parallel double lead guitar lines like can be found in the very fun songs “Hello Five-O” and “Chico’s Train”, Leroy proves he’s studied country in all it’s forms, and he defies any pigeonholing.

And just when you you think this album is going to be all up-tempo, rowdy songs with screaming guitar licks, here comes possibly the best Hellbound Glory song ever, “The Ballad of Scumbag Country”, slowed down, deep fried, smothered and covered in soul. Great albums are smart in how they approach song order, and the way the first four songs set the table for this ballad is brilliant.

Songs like “Livin’ This Way”, “I’ll Be Your Rock (At Rock Bottom)” are superb in their own right, though naysayer might point out that they work in the very classic mold of “songwriter” country songs: taking a line and then folding it back in on itself for the appeal of irony. When it’s done right, it should always be enjoyed. When it’s all that a songwriter can do, it becomes exposed. Leroy Virgil, with a song like “The Ballad of Scumbag Country” proves he can work without a net, without a formula, and still give the song impact in the heart of the listener.

Scumbag Country‘s songs are always honest, never bombastic, even though they may hold a lot of bravado. That balance is not easy. I swear it seems like on every album, even the great ones, there’s one song I just can’t like, and “Get Your Shit And Go” is the one from this album. I guess this is why God created the fast forward button. Some purists might grumble at “Are You Sure Hank Done It Their Way”, but to the respect of Hellbound Glory, Waylon is given full credit for the song, and I think the intention of the song is pure.

Just like Old Highs, Scumbag Country is superbly recorded and produced, without the flubby, homespun feel that may hold other projects back in the eyes of the wider public. Once again Leroy Virgil proves he is a multi-dimensional artist by being able to play the producer’s role with his own songs better than anyone else could for him. I wouldn’t second guess any decision on this album, and fellow Hellbound members Chico Kortan (drums), Johnny Fingers (lead guitar), Frank Median (bass), and Adam Jaffe (pedal steel and banjo) do an excellent job fleshing out Leroy’s vision.

What else can I say except for that if you liked Old Highs and New Lows, then Scumbag Country is essential. And though the drug references are here, they are not as prevalent as in Old Highs, which in the end might even make this album more accessible.

Two guns way up!

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Preview Tracks and purchase Scumbag Country from Amazon

Scumbag Country on Vinyl (in limited quantities)

Scumbag Country can also be purchased directly from Hellbound Glory at

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