Browsing articles tagged with " Montgomery Gentry"

Saving Country Music’s Worst Songs of 2013

December 16, 2013 - By Trigger  //  Reviews  //  90 Comments

saving-country-music-2013-worst-songsSo here you go ladies and gentlemen, the worst of the worst that 2013 had to offer in country music. As you might suspect, a list of mainstream country’s worst misdeeds in 2013 is mostly populated by an ear-serrating cacophony of country rap songs. With only a couple of exceptions, country rap has replaced what last year at this time was a parade of laundry list-themed songs.

2013 SCM Song of the Year Nominees

PLEASE NOTE: To qualify for this list, the song had to be released as a single. And with such a crowded field, only the worst of the worst were selected. Feel free to share your most vilified songs of 2013 below.

Jason Aldean – “1994″

When I originally ranted about this song in February, I called it the worst country song ever. If I only knew what the rest of 2013 would have in store.

“In Music Row’s everlasting quest to train all of its resources on scouring America to unearth only the finest, most purest form of audio diarrhea, they have struck the mother of all motherloads originating from the unholy bowels of Macon, Georgia’s Jason Aldean. Yes Nashville, pat yourself on the back, let all of the Auto-Tuned stars sing out in unison as Stratocasters bray out a cacophony of stadium rock riffs in unified celebration–you have officially discovered the shittiest country music song to ever touch the human ear drum.

Do I understand the levity and the long history of country music that must be considered to declare “1994″ the worst country song that has ever been released? Yes, yes I do. And yet I still stand firmly behind that opinion.” (read full rant)

Florida Georgia Line – “Cruise”

What can make a bad song worse is when it becomes so ubiquitous throughout society that it pursues you like a bad nightmare—playing at the grocery store, blaring out of the car next to you at a red light. “Cruise” was officially released in 2012, but since this was the year it achieved historical success as the longest-running #1 in the history of the country genre (though that record when you look deeper into the numbers is somewhat spurious), it would only be fair to include 2013′s summer anthem here.

“Originating from the Republic Nashville imprint of Big Machine Records, the duo consisting of Tyler Hubbard and Brian Kelley met while attending the Mike Curb College of Music at Nashville’s private and exclusive Belmont University. I know, right? Doesn’t get more country than that! Apparently they were both enrolled in the “How To Be A Upper Middle Class Douchebag But Pretend To Be A Country Boy And Filch Rednecks Out Of Their Hard Earned Money, 101″ class. They made eyes across the classroom, and afterwards discussed their mutual desire for world music domination over $175 haircuts, manscaping, and colonics. Next thing you know, Florida Georgia Line is born.

Florida Georgia Line is a horrible combination of Rascal Flatts pretty boy hyper-pop, and designer jeans Jason Aldean “backroad” laundry list bullshit. They are everything bad about quotation mark “country” in 2012 combined into one big stuffed crotch sandwich.” (read full rant)

Blake Shelton – “Boys ‘Round Here”

“The Decider’s” offering to the 2013 resurgence of the country rap trend.

“Just when we thought the American public was finally getting wise to the fact that country rap is a Cancer of Western Civilization, needing to be cut out and radiated like the grapefruit-sized, puss-filled tumor it is, here it comes roaring back like a raging case of bleeding hemorrhoids.

“Blake Shelton’s “Boys ‘Round Here” is songwriting by algorithm and analytics, fashioning together words and sounds known to have the widest impact on mainstream radio’s weak-of-mind demo. The “boys” in the title of “Boys ‘Round Here” is fitting, because this song is rank immaturity. It’s the audio equivalent of sneaking out of your mom’s house to smoke pot behind a Pizza Hut.” (read full review)

Montgomery Gentry – “Titty’s Beer”

Yes, this actually exists, was even released as a single with an accompanying video.

“This isn’t a cry for relevancy folks, this is a blood-curdling scream; a banshee yawp from the innermost depths of holy hell, destined to beset the eardrums of all rationally-minded music listeners with a cursed memory so potent and terrible, it will be well-documented as a clinically-certified precursor to the most acute and debilitating onset of post traumatic stress disorder, terrorizing the very sanity of any semi-intelligent human.

“If a truly good country song is represented by a delicate pair of supple female breasts, then Montgomery Gentry’s “Titty’s Beer” would be a rack of cellulose-addled man boobs replete with coarse and graying disheveled chest hair, pock marked with skin Cancer and bisected by a grizzly double bypass scar. Originally recorded by the Country Music Grimmace Colt Ford, “Titty’s Beer” is an ode to idiocracy and a battle hymn for the forces of misogynistic cultural reduction. The premise doesn’t even make sense, but you can see some oaf going, “Well hell. I like titties, and I like beer, so….” (read full rant)

Joe Diffie feat. D. Thrash – “Girl Ridin’ Shotgun”

What is worse than Jason Aldean’s “1994″ ? Joe Diffie’s “answer” song.

“Did you feel that Oklahoma? That was the earth tremor caused by your native son Joe Diffie selling out so violently it measured 2.1 on the Richter scale. The mulleted, cop mustached 90′s semi-star has released an “answer” song to what many consider the worst song in country music history, Jason Aldean’s country rap “1994,” and it is as embarrassing as puberty.

“The beats for “Girl Ridin’ Shotgun” sound like they were composed by a 7th grader who just snorted his ADD meds, just like all of the beats of the Jawga Boyz’s bombastic and trashy tracks. The beat doesn’t even get five seconds into the song without going off meter. There’s biscuit crumbs in Joe Diffie’s mustache that could compose a better beat. And then D Thrash’s first line doesn’t even rhyme. Are you effing serious with this song? “Girl Ridin’ Shotgun” makes me want to make out with my cousin and bet on a dog fight.” (read full rant)

Tyler Farr – “Redneck Crazy”

There’s bad, and then there’s downright wrong. Tyler Farr’s “Redneck Crazy” crosses that line.

“Tyler Farr’s “Redneck Crazy” isn’t for jilted male lovers looking for solace, it is for socially awkward, introverted, creepy-ass chronic masturbaters that hold a minor in megalomania. This song doesn’t need a rant, it needs a restraining order and ankle bracelet. It’s an insult to both the terms “redneck” and “crazy.” True rednecks ride their problems out, rub their wounds in the dirt and move on, not whine about them like a panty waist, eliciting threats and enlisting their loser friends to enact adolescent acts of vandalism as some sort of self-righteous recompense.”

“About the only thing this song is good for is turning in for state’s evidence of why Tyler Farr shouldn’t be allowed within 200 yards of his ex’s or any elementary school.” (read full rant)

Luke Bryan – “That’s My Kind Of Night”

Outmatched only by Florida Georgia Line’s “Cruise” for the longest-charting single in 2013.

“Let’s start this off by dispatching with the 700 lb gorilla in the room and say what everyone is thinking, but few are willing to say publicly: The only reason Luke Bryan’s “That’s My Kind Of Night” is a #1 song is because bored suburban moms and their daughters want to fuck him. Luke Bryan’s music has the nutritional value of notebook paper, and is the clinical result of when an entertainer spreads his arms wide in a submissive pose and relents his entire will to the country music industrial complex, saying “Do your worst.” Luke Bryan has no soul. He is more machine than man. He has the integrity of a Guatemalan mule bridge with a squadron of M1 tanks trying to cross it. “That’s My Kind of Night” is like a diabolically-specialized form of audio diarrhea that marries the ideal ratio of water to solids so when it is sent through an industrial fan it inflicts the widest collateral damage on as many people as possible.

“A little Conway a little T-Pain?” Yep, that pretty much sums up American music in 2013, sans the Conway—replaced by Luke Bryan and his vomit-inducing country rap trend-chasing ilk.” (read full rant)

Jerrod Niemann – “Drink To That All Night”

Listening to this song is as traumatic as waking up naked in a stranger’s bed, with pacifiers and spent glowsticks littering the sheets around you, other people’s bodily fluids encrusting on your bare skin of your midriff, your eyebrows shaved, and the unsettled sense like you spent the night before indulging in designer drugs and weird sex against your will. Yes ladies and gentlemen, in 2013, country music when there—to the techno-rave glitterdance sounds of Jerrod Niemann and his woman’s ball cap that he got on clearance from Ross.

When the words kick in to this awful, awful song, you think it must be some sort of Saturday Night Live parody. But no, this song is a serious single from Jerrod. Luckily it skidded off the charts pretty rapidly, but “Drink To That All Night” symbolizes another new low for country music in 2013, with an excruciatingly-boring video.

Dishonorable Mention:


Montgomery Gentry’s “Titty’s Beer” (A Rant)

July 16, 2013 - By Trigger  //  Down with Pop Country  //  112 Comments

montgomery-gentryAmerica, my apologies, but yes, this truly does exist.

This isn’t a cry for relevancy folks, this is a blood-curdling scream; a banshee yawp from the innermost depths of holy hell, destined to beset the eardrums of all rationally-minded music listeners with a cursed memory so potent and terrible, it will be well-documented as a clinically-certified precursor to the most acute and debilitating onset of post traumatic stress disorder, terrorizing the very sanity of any semi-intelligent human.

If a truly good country song is represented by a delicate pair of supple female breasts, then Montgomery Gentry’s “Titty’s Beer” would be a rack of cellulose-addled man boobs replete with coarse and graying disheveled chest hair, pock marked with skin Cancer and bisected by a grizzly double bypass scar.

Originally recorded by the Country Music Grimmace Colt Ford, “Titty’s Beer” is an ode to idiocracy and a battle hymn for the forces of misogynistic cultural reduction. The premise doesn’t even make sense, but you can see some oaf going, “Well hell. I like titties, and I like beer, so….” And no folks, this isn’t some buried album cut from the once high flying country duo, this song has its own video and is being pushed hard to the teeming masses.

Oh the poor Troy Gentry, trying to stay hip by squeezing his doughy, middle-aged chub into an extra-shrunk child’s medium Affliction shirt, while the steamy day stimulates beads of Just For Men dye solution to roll down his wrinkled brow buffed over with multiple layers of man-formulated Maybelline. This silly arse is even rocking the wallet chains, just like all of those cool, hip male pop country acts. You know, the ones that actually still sell records?

And what’s up with Eddie Montgomery in this song and video? This dude is doing even less shit than Brian Kelley of Florida Georgia Line does. The video is clearly being shot in the blinding heat of summer, with chicks in bikinis running around everywhere, and yet this dumbass is duded up like he’s ready to take the stagecoach over the Continental Dive in the dead of a Wyoming winter. Eddie Montgomery must have more sweat cascading down his ass crack than the water of the roaring rapids in the wild and scenic Snake River.

And somebody take that stupid microphone stand Eddie’s poking the crowd with away before he punctures a slew of silicone boobs and they have call out the Hazmat unit for a chemical spill. Seriously, there’s more synthetic components embedded in that crowd of floozies than in a semi-truck full of iPhones.

The worst part about “Titty’s Beer” is that the song doesn’t even work on any fundamental level. There’s actually a legacy in country music that uses innuendo and wordplay to veil sexually-charged content that can be both witty and entertaining. But “Titty’s Beer” bears it all, leaving nothing to the imagination.

Two guns way down!


Chris Knight’s ‘Little Victories’: A Political Album Done Right

September 20, 2012 - By Trigger  //  Reviews  //  21 Comments

This is the exact album that the United States of America needs right here, right now, at this very moment in time. Finally, someone has the courage and the wisdom to use music to reassure people of the power of individual will, and the beauty of the rising action embedded in every human soul instead of as a vehicle to lay blame on everyone else for the problems the individual faces.

This album presents a challenge. Are you going to sit there and take the easy way out by framing your life in the form of a negative thought? Or are you going to be awed by the amazing riches afforded to the modern American no matter how poor they are and be thankful? Are you going to make an excuse, or are you going to make a plan?

And like only Chris Knight can, brunt force diatribes are abandoned in favor of building believable characters out of the ruins of America’s rural landscapes, and telling their stories of heartbreak, bad luck, and redemption to make the points. What a refreshing, poignant, timely, and telling message; a hot dagger in the heart of the wicked polarization that grips our country and divides our purpose; the antidote to the depression of the apolitical person in the height of the political season.

Chris Knight’s Little Victories has little mention of scapegoats. There’s no long-winded, unveiled bitching about the government, corporations, the media, religion, the left or the right. Instead there’s touching, personal stories of low living filled with glimmering hopes and gratefulness. It is a political album that doesn’t oversimplify arguments and frame sides, it erodes these things by illustrating that everyone has a personal story, and nobody has the power to shape that personal story more than the individual. Little Victories is deep and altruistic while remaining simple and plaintive. It’s message and points are subtle and smooth in their delivery, but somehow still biting in their impact. And most importantly, Little Victories is enjoyable to listen to.

The songs in the heart of this album are what convey the timely theme. “Nothing On Me” looks at tough times and laughs. Title track “Little Victories” with John Prine reminds us to be thankful for the small things, and to take life one day at a time. “Out Of This Hole” teaches that we’re usually all responsible for where we are, and are equally responsible to get where we want to go. And “You Can’t Trust No One” spells out the folly of our judgmentalism with poetic truth and weightiness.

And there’s plenty of the songs of heartbreak and desperation that make a Chris Knight album a Chris Knight album, like “You Lie When You Call My Name” co-written by Lee Ann Womack, the fun, yet truthful and hard-nosed “Low Down Ramblin’ Blues”, and the excellent sense of story and character in “Hard Edges”.

The Kentuckian and honorary Texan whose been writing and releasing music under his own name since the late 90′s has always been a little hard to define as far as style and place. He’s written songs for Montgomery Gentry and Randy Travis, and his country roots are obvious. But the style he records his own stuff under has that hard, electric, rock-infused country feel that would have fit perfectly under the “alt-country” title years ago.

Today, he’s claimed in part by Red Dirt and Texas Country, and his music carries that “safe” feel of the Texoma corridor, where it is never bad, but never too bold either. But it’s Chris Knight’s songwriting that has won him fans all the way from the rock world to Western Europe, and the timely nature of the Little Victories material makes it worth arguing if this is his best effort yet.

Little Victories is a big victory for Chris Knight, for country music, and for the level-headed, wise approach to life in an overly-politicized world.

Two guns up.

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Purchase Little Victories from Chris Knight

Preview & Purchase Tracks from Amazon


Source: Waylon Estate Distances from Tribute Contributors

January 7, 2012 - By Trigger  //  News  //  29 Comments

Yesterday (1-6) the track listing and contributors for the second installment of the Waylon Jennings tribute “The Music Inside” was released to the public to a few grumbles from Waylon fans who were unhappy to see names like Colt Ford on the list, who is known for mixing country music with rap, and Justin Moore, who even legendary music journalist Chet Flippo who covered Waylon and the rest of the country music “Outlaws” back in the 70′s for Rolling Stone has inferred is a “fake Outlaw”.

Now Saving Country Music has learned from a reliable source close to Waylon Jennings’ estate that the estate has “distanced” from the choosing of some of the artists on the tribute, especially on the second disc. Waylon’s estate, made up of Waylon’s widow Jessi Coulter and his son and artist Shooter Jennings are said to have limited involvement in the project at this point, consisting of the tracks they have contributed themselves, and a few other “select choices”. Both Shooter and Jessi appeared on The Music Inside Vol.1 released in February, and Jessi appears on this second volume due out January 24th.

The Waylon Estate source also says the selection of the contributors has a lot to do with the labels releasing these volumes. Big Machine Records, Justin Moore’s record label released Vol.1, and label Average Joe’s Entertainment whose releasing Vol. 2 is home to Colt Ford and Montgomery Gentry. The Music Inside project is being managed by producer Witt Stewart (read interview with him here about the project).

There’s also questions about the timing of the release of The Music Inside, Vol.2. The series was always intended to be 3 volumes, and a total of 36 songs had been recorded by the time of the release of Vol. 1 in February. June 14th was supposed to be the release date for Vol. 2 (the day before Waylon’s birthday), and Vol. 3 was scheduled for October, along with a rumored “Christmas surprise” from the project. Now we won’t see Vol. 2 until late January, and physical copies won’t be available until February 7th. There is no updated release date for Vol. 3 currently.

Saving Country Music has learned the delay in the release occurred when the original label that signed on to release the albums, Big Machine, refused to release Vol. 2 after physical sales of Vol. 1 did not meet their expectations. Vol. 2 was picked up by Average Joe’s, but only with the stipulation that Colt Ford and Montgomery Gentry from their roster would be added as contributors. Justin Moore and Jewel were included to fulfill the project’s obligations to Big Machine, resulting in a list of contributors that looks to have more to do with Music Row politics than with who is best suited to pay tribute to Waylon Jennings. 

Neither Jessi Coulter nor Shooter Jennings have come out publicly against the project, and SCM’s source close to the Waylon Estate says the family still supports the release of these volumes, but if it was left to them, a different set of contributors would have been chosen. Shooter has said in some recent interviews that he, “appreciates that the records have given a podium to many artists from many different walks of life to express their love of my dad’s music”.

Both Shooter and Jessi showed apprehension to the project at first before finally giving approval, as they explained to The Tennessean back in February when the first volume was released:

(Jessi Colter) “Frankly, sometimes it hurts my heart to hear someone do his (Waylon’s) songs.” All of which is part of why Colter was reluctant to green-light a series of three Waylon Jennings tribute albums…If Colter was reluctant to participate in such a project, Shooter Jennings was downright apprehensive … “I was leery of it, and even more guarded than my mom was. I’ve seen people with pure intentions and unrealistic goals, and I’ve seen people with agendas. And I’ve seen a Nashville system that will happily milk the ‘outlaw’ image of Waylon and other people, just so they can sell garbage.”

Please stay tuned to Saving Country Music for more information on this developing story.

Track List:

Lonesome, On’ry and Mean – Dierks Bentley
Waymore’s Blues – Hank Williams, Jr.
Good Ol’ Boys – Montgomery Gentry
I Ain’t Living Long Like This – Justin Moore
Bob Wills Is Still The King – Jack Ingram
Only Daddy That’ll Walk The Line – Colt Ford
Rainy Day Woman – Pat Green
Love Of The Common People – Josh Thompson
Mama – Jessi Colter
Dreaming My Dreams With You – Jewel


Colt Ford, Jewel, & Justin Moore on Waylon Tribute?

January 6, 2012 - By Trigger  //  Down with Pop Country  //  52 Comments

This is not a spoof. I repeat, this is not a spoof or a fake news story.

Wow. My little country music heart was sent reeling this morning when I rolled up to the track list and list of contributors for the new Waylon – The Music Inside, Vol. 2 compilation due out January 24th. The thing read like my lampoon of the unfinished Hank Williams songs, but unfortunately it is all too real folks.

Included in the list of contributors is the country music Grimmace, the genre-bending country rapper Colt Ford, Justin Moore, a man I could make a serious case as being the worst country music “artist” ever, Josh Thompson, who I once took to task for name-dropping Waylon, the 4th Rascal Flatt, Texas’s King of Hair Highlights, the effeminate Pat Green, along with the dumb duo Montgomery Gentry, and Jewel. And I’m telling you, Jewel might be the best pick of the lot.

I had mixed feelings about the first volume of these tributes, but this is clearly a helpless cry for relevancy. I know the old philosophy is to try to bring in people who would not be traditional Waylon fans through other artists and covert them through his music, but the closest Colt Ford and Justin Moore fans will ever get to Waylon is snorting crushed Loritab off the back of one of his CD cases.

I am honestly just in shock right now. I don’t know if I should laugh or cry. Really what this track list means is that we still have a lot of work to do folks. A lot.

Lonesome, On’ry and Mean – Dierks Bentley
Waymore’s Blues – Hank Williams, Jr.
Good Ol’ Boys – Montgomery Gentry
I Ain’t Living Long Like This – Justin Moore
Bob Wills Is Still The King – Jack Ingram
Only Daddy That’ll Walk The Line – Colt Ford
Rainy Day Woman – Pat Green
Love Of The Common People – Josh Thompson
Mama – Jessi Colter
Dreaming My Dreams With You – Jewel


Interview with Austin Lucas

July 20, 2011 - By Trigger  //  Random Notes  //  12 Comments

One of the standouts in 2011 so far has been Bloomington, Indiana-based singer/songwriter Austin Lucas, and his album A New Home in the Old World. And apparently this isn’t just my opinion, as Austin was able to land on this summer’s Country Throwdown tour’s exclusive lineup.

On July 4th, the Country Throwdown and Willie Nelson’s long-running 4th of July Picnic’s collided in Ft. Worth, TX’s historic stockyards at Billy Bob’s Texas. Of all the amazing talent amassed on that historic day, at the top of my list for folks to interview was Austin. He was kind enough to sit down with me for about a hour to discuss his experience on the Country Throwdown and touring with Willie Nelson, how he got into country music after starting in the punk/metal scene, the business of songwriting, and how his goals are measured and focused on the art of songwriting first, above his own popularity.

Find the full audio of out interview below, and the big points of the interview are transcribed below as well. Austin will also be on tour later this summer and into fall, including some dates with Reverend Peyton’s Big Damn Band, so check at the very bottom for those dates.

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Triggerman: How’s the Country Throwdown tour been, and how did you get on it?

Austin Lucas: It wasn’t a shock to me to be on the Country Throwdown because my booking agent had said it was very probable to be on the tour. The shock for me was because last year the headliner was Montgomery Gentry, and this year Willie Nelson was the headliner. I mean how many opportunities does a person like me, especially from a totally far off distance scene but of course has been a Willie Nelson fan his entire life, get the opportunity to tour with Willie Nelson, an American Icon? I’ve told people that I peaked on this tour. I don’t know that I’ll ever do something as great as standing on stage with Willie Nelson. I’ve sang with him many times on this tour. At the end of the show we all get up on stage and do gospel. I’ve done it exactly six times, not that I’m counting (laughing).

Triggerman: You’re not out here with a band. What they’re doing to showcase the up-and-comers is these Nashville Rounds where you’re with other songwriters. How’s that been as an experience, not just as a songwriter, but as a performer?

Austin Lucas: Most of the people on this tour are not performers, they’re Nashville writers. Of course some of them are artists, but the focus of their career thus far has been to write hits for people. And I’m the only one that doesn’t live in Nashville. So what’s cool about this tour is people are like, “Oh, so you live in Nashville?” and I’m like “No, I’m from the Midwest”. I’m from southern Indiana and honestly the common people there believe themselves to be from the South. But geographically speaking, I’m definitely an outsider.

Triggerman: When it comes to the underground country scene, it seems like there’s a lot of bands coming from the Midwest and Upper Midwest, and I’ve always wondered why that is. There is a lot of great Southern bands as well. Some people think I have a conspiracy against Southern bands because I’m always covering people from Indiana, or Michigan, or Minnesota.

Austin Lucas: The potential reasoning for that could be, and it’s really unfortunate, but Southern culture has been so substantially mined for stereotypes, and exploited. Everybody expects certain things from Southern bands. Obviously not all Southern bands provide that thing that they’re looking for. A lot of the markets there are looking for a certain thing.There’s still a lot of radio hanging around, so there’s a lot of effort to produce hits. Like whereas when you’re coming from Indiana, you’re not trying to produce hits, you’re just trying to make a record and write songs. There’s no hope for us to have hits, so we write the songs that we want, and play music for us.

Triggerman: You said before that you’ve been touring for 15 years, and you’ve been working for 5 years on this project specifically. Where did you come from? Explain in brief your music career, where you first picked up a guitar, and are now sharing a stage with Willie Nelson.

Austin Lucas: I started with my dad as a very small child, making music with him. I didn’t get serious about it until I was 12 or 13 years old, and that was playing in punk bands. I ruined my voice singing in punk bands and then later metal bands. I was in that scene very deeply, I still am actually and I still do tours, like my band Guided Cradle, were on hiatus right now technically. The guitar player also plays in a band called Hellshock which is a very famous band in our scene. We’re just waiting to get the steam to do something else. But basically in 2000 I was singing in a band called Rune, which is a grindcore band that was on Relapse Records, and I just kind of stopped doing it and stated playing acoustic music. So I’ve actually been at this project for 11 years, but it took me 5 years before I got my voice back.

Triggerman: What was the inspiration for going to acoustic music?

Austin Lucas: For me, it was really hinged on the fact that I was really tired of only hearing that type of music, the metal and punk and stuff. I lived in a house with the other guys from Rune, and literally all they played was Morbid Angel and all these really heavy bands. I just woke up one day and was like “I’m over it.” I didn’t want to hear it anymore, and so I stopped wanting to play it as much. I still do play it and I love playing it, it is a part of myself that’s very intrinsic for my soul. But I didn’t want to focus on it anymore. I wanted melody and songwriting. So all the country and bluegrass that I’d been hearing for my whole life basically, I just started trying to write like that. And honestly, Bloomington, Indiana is a big indie rock town, and there was a songwriter Jason Molina of the Magnolia Electric Company, and some of his records were the biggest influence on me. I saw him play for the first time in 2001, and it literally changed my world. He was so dark and evil, but at the same time so beautiful, and that is what I wanted. My last record had two guys from Magnolia Electric Company on it.

Triggerman: You’re in the beginning tier of the Country Throwdown tour in these Nashville rounds. You’ve told me you like to set the bar low and that you might have hit your peak. Could you see yourself in the Lee Brice or Jamey Johnson role on this tour in the future? Or do you even desire that?

Austin Lucas: That’s actually a difficult question to answer. My booking agent came to one of the shows and said we should look into getting you out with these guys and I told him, “Don’t get me wrong, I love these guys, but I don’t think I want this.” I would love to go on tour again with Willie Nelson, Merle Haggard, Kris Kristofferson, Jamey Johnson, but I just don’t want to ever be in a position where a record label is telling me what to do. And honestly, I don’t want to ever walk into a mall and have anyone freak out. Let’s put it like this: If I could put myself in the place in my career where I could put out my Red Headed Stranger, and have it be the amount of success that it was, and get the attention and garner the type of following Willie was able to garner, which was a very open-minded segment of country music, then I would be interested in it. (But) I don’t know that I want to be as famous as Willie Nelson ever was.

Triggerman: When you first started describing your music to me, you mentioned Americana. Do you feel like that’s your niche or where you feel more comfortable?

Austin Lucas: I feel more kinship with Americana artists, or what people call “Americana” artists. If I could pick one singer/songwriter I’d like to go on tour with, I would say Gillian Welch. I feel a little bit more in touch with that kind of scene that really cares about songs.

Triggerman: Anything else you want to add?

Austin Lucas: I’m going to be going on tour soon, and I hope people add me on Facebook, ReverbNation, MySpace and Twitter. If you add me, then you’ll know what I do. And I need you to know what I do because I need you to come and see me play. Because honestly, if you don’t come out and see me play, then I can’t keep coming out and doing it.

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Headlining Tour:

August 20, Columbus, OH @ Rumba cafe
August 21, Groten, NY TBA
August 22, Boston, MA @ Great Scott
August 23, Brooklyn, NY @ Union Hall
August 24, Asbury Park, NJ @ Asbury Lanes
August 25, Washington DC @ the Black Cat (backstage)
August 26, Shepardstown, WV @ Blue Moon Cafe
August 27, Durham, NC @ Motorco Music Hall
August 28, Charleston, SC @ the Tin Roof
August 29, Charlotte, NC @ the Milestone Club
August 30, Atlanta, GA @ 529 Club
August 31, Opelika, AL @ Eighth and Rail
September 2, Oxford, MS @ Blind Pig
September 3, Little Rock, AK @ the White Water Tavern TWO COW GARAGE 10th anniversary party!!!

w/ Reverend Peyton’s Big Damn Band

Sun/Sep-11 Colorado Springs, CO @ Black Sheep
Wed/Sep-14 Denver, CO @ Bluebird Theatre
*Fri/Sep-16 Missoula, MT @ The Badlander (AL&tBP Headline show)
Sat/Sep-17 Salt Lake City, UT @ The State Room
Mon/Sep-19 Seattle, WA @ Tractor Tavern
Tue/Sep-20 Portland, OR @ Dantes
Thu/Sep-22 San Francisco, CA @ Bottom of the Hill
Fri/Sep-23 Hermosa Beach, CA @ Saint Rocke
Sat/Sep-24 Los Angeles, CA @ The Mint
Mon/Sep-26 San Diego, CA @ Soda Bar
Tue/Sep-27 Tempe, AZ @ The Sail Inn
Wed/Sep-28 Albuquerque, NM @ Low Spirits
Fri/Sep-30 Austin, TX @ Emos
Sun/Oct-02 Dallas, TX @ House of Blues – Cambridge Room
Tue/Oct-04 St. Louis, MO @ Cicero’s
Wed/Oct-05 Carbondale, IL @ The Hangar
*/Oct-06 Normal, IL @ Firehouse Pizza & Pub (AL&tBP Headline show)
Fri/Oct-07 Springfield, IL @ Marly’s
Tue/Oct-11 Nashville, TN @ Exit/In


The Colt Ford Collaboration Country Music Blacklist

April 21, 2011 - By Trigger  //  Down with Pop Country  //  116 Comments

You have to give credit to “country” rapper Colt Ford for at least one thing: his boldness. While wearing a grin like a mule eating garlic, he’s hoodwinked the country music consumer out of millions of dollars by trashing traditions and self-admittedly having little talent. In some ways I cheer for Colt Ford’s success. Hell, lets give him the CMA for Entertainer of the Year. Because his success just proves the point that most of the stuff coming from Music Row is no more than a punch line, and that we are in a headlong sprint toward all popular music coalescing into one big mono-genre presiding over the death of contrast.

I know that Colt Ford is a guilty pleasure for many. Some of his lines are catchy, or whatever. I find it hard to work up any venom for someone who isn’t shy about speaking on how much of a gimmick he is. What really gets me hot under the music collar is the who’s who of country music that come out of the woodwork to collaborate with this knucklehead. Look at the list of people that signed up to appear on his next album Every Chance I Get: Charlie Daniels, Luke Bryan, Tim McGraw, and my favorite “new Outlaws” Eric Church and Josh Thompson. You can add these names to people like Kevin Fowler, who Colt Ford had running around with women’s underwear on his head, or other previous collaborators like Montgomery Gentry, and yes, even the beloved Jamey Johnson.

I expect nothing less from Josh Thompson. If his music is your speed, then don’t let my opinionated ass get in your way, but since I roasted him for his stupid “Outlaw” song, it seems like wherever stupid is going down, he’s there getting his pony tail stuck in the spokes of it. As for Eric Church, since my first reactions to his music, he’s been keeping his nose surprisingly clean, and putting out some songs that I dare say show some promise for being very progressive and engaging. So then why regress to cutting a song called “Country Thang” with the gringo version of Grimace? That’s “Thang” with an “A”, yo. Word to yo mutha’. Wiggety wa wa.

So please, all the Josh Thompson and Eric Church apologists, explain to me how I’m supposed to overlook this. I thought these were the guys that were Saving Country Music, and I was a fool for not seeing they were the key to upholding traditions. I know, they’re just trying to get their name out there, but at what expense?

And why is Colt always associated with these “New Outlaws”? Last year Hank Jr. put Colt Ford on his “Rowdy Friends” tour with the aforementioned Eric Church and Josh Thompson, along with the other “New Outlaw” Gretchen Wilson, and the untouchable Jamey Johnson.

If you want to listen to a true, creative meld of hip hop and country, go listen to some Beck or some Paul’s Boutique-era Beastie Boys. But this Colt Ford stuff is garbage, despite a few catchy lines, and as far as I’m concerned, lending your name to a Colt Ford project lands you a card carrying membership to the “Colt Ford Collaboration Blacklist”. Here’s the names I’ve amassed so far:

Colt Ford Collaboration Blacklist:

  • Eric Church
  • Josh Thompson
  • Jamey Johnson
  • Kevin Fowler
  • Charlie Daniels
  • Montgomery Gentry
  • Tim McGraw
  • Luke Bryan
  • Trent Tomlinson
  • Craig Morgan
  • Tyler Farr
  • JB & The Moonshine Band
  • Frankie Ballard
  • James Otto
  • Randy Houser
  • Ty Stone
  • Josh Gracin
  • Sunny Ledfurd
  • Darryl Worley
  • Rhett Akins
  • Joe Nichols
  • Rachel Farley
  • Ira Dean
  • Jason Aldean (for recording Colt’s “Dirt Road Anthem”)
  • Hank Williams Jr. (for putting him on his “Rowdy Friends” tour)
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