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F r i d a y , A p r i l 1 5 : Doorsopen at noon 2:30 p.m � TBA4 p.m. � Steel Magnolia5:30 p.m. � John Anderson7 p.m. � Eric Church9 p.m. � Dierks BentleyT i k i Sa loon11 p.m. �Lo Cash Cowboys

Sa t u r d ay , Ap r i l 16 : Doorsopen at noon 2:30 p.m. � Josh Kelley4 p.m. � Lonestar5:30 p.m. � Justin Moore7 p.m. � Jake Owen9 p.m. � Miranda LambertT i k i Sa loon11 p.m. � Lil� Ed and The Blues Imperials

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On the caution-vs.-candor scale, it’s nothard to figure out where Miranda Lambertcomes down.

“I’m really not careful at all,” she says. “Iprobably should be. I pretty much don’thave anything to hide, though. I never hidanything growing up. My parents were PIs,so I really couldn’t.”

She may have become a songbird insteadof snooper, but in her own fashion, Lambertis following in the family business, as aprivate investigator of the heart — a tradeshe recommences with relish in her thirdalbum, Revolution. The 25-year-old star’sbiggest hits have tended to be her boldestsongs, so she’s not about to put a lid on herplain-spokenness now.

“I mean every word I say in every lyric ofevery song on this record, and every recordI’ve ever done,” she declares. “I would nevertake back one word or lyric or point I’ve evermade, because it’s part of who I am. Andthere are plenty of artists who wouldn’t do somuch of that, if that’s the kind of musicyou’re into. But if you’re into honesty, I havethe records for you,” she laughs.

In her most successful single to date,“Gunpowder and Lead,” Lambert declaredthat some little girls are made less of sugarand spice than more combustible sub-

stances. And the title track of her 2005platinum debut, Kerosene, established her inthe country music firmament as a figura-tively and maybe even literally incendiarypersonality. But it may be no mistake thatthe new album’s title, Revolution, could betaken as similarly aggressive or just a simple

Candid Miranda

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Miranda Lambert


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The story of John Anderson and hisplatinum-plus album, Seminole Wind, isthe story of the country music “come-back” of the decade.

It’s the true-to-life, yet larger-than-life,saga of one of the most dramatic careerturn-arounds of the 1990s.

It’s the story of just rewards for a singerwho originally took country music bystorm and helped keep it true to its rootsback in the early 1980s.

His memorable hits from that musicalera included “Wild and Blue,” I’m Just AnOld Chunk Of Coal,” “1959,” “I Just CameHome To Count The Memories,” “BlackSheep” and “Swingin’.”

“Swingin’” was not only the CountryMusic Association’s 1983 Song of the year;more recently it was cited by the A.M.O.A.as one of its all-time top-40 jukebox hits –right up there with “Hey Jude” and otherperennial favorites by The Beatles, ElvisPresley, Frank Sinatra, Patsy Cline, GeorgeJones and The Rolling Stones.

“Straight Tequila Night,” the lead-offsingle from Seminole Wind (Anderson’sdebut album for BNA Entertainment),went to No. 1 across the board on everycountry chart.

It was his first bona-fide chart-topper

since “Black Sheep” in 1983. “When ItComes To You,” the second single,reached No. 2, while “Seminole Wind,”the heartfelt title tune, soared to No.1when released later in 1992.

Jay Orr, a noted music writer for theNashville Banner, was one of severalcritics to list Seminole Wind in a top-tenalbum round-up for 1992.

Seminole Wind is a vivid personalstatement which Mr. Anderson wroteafter visiting his 95-year old grandmother,and after driving around Florida observ-ing the drastic ecological changes thattime and progress wrought on his nativestate.

Its accompanying video was shot at acypress preserve in the Florida Evergladeswith assistance and participation of theregion’s native Seminole Indians. It tooleaped to the No. 1 spot on national videocharts.

Those of us who’ve followed thevicissitudes of Mr. Anderson’s recordingcareer aren’t particularly surprised at his“rediscovery” in the wake of SeminoleWind.

This is, after all, the vocal genius whowon the Country Music Association’s 1983Horizon Award and helped lay the

cornerstone for the late 1980s neo-traditionalist boom with his aforemen-tioned early 1080s stone-country hits.

Those hits showcased his arresting,instantly recognizable vocal style; aprovocative mixture of honky tonk fervor,rockabilly/outlaw gusto, sly, tongue-in-cheek humor, and just a hint of rock n’roll swagger.

The John Anderson we hear today ismerely the new and slightly mellowedadult version of the stylistically head-strong, fiercely determined 17-year oldwho hit Nashville running in 1972.

He clawed his way up the ladder onerung at a time, from $5-a-night gigs in thehonky tonk closets of lower Broadwayand a day job tacking shingles on the newGrand Old Opry house at Opryland.

John Anderson followed Seminole Windwith five more critically acclaimedalbums, spawning hits like, “Money InThe Bank,” “I’ve Got It Made,” “I Wish ICould Have Been There,” “Let Go Of TheStone,” “Bend It ‘Til It Breaks,” “Mississip-pi Moon” and “Somebody Slap Me.”

John Anderson is a seasoned andimproved model of the same tried-and-true, dyed-in-the-wool country vocalist

Swingin’ with John Anderson

John AndersonSee ANDERSON , 7

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Chalk it up to their Texas-meets-Tennessee grit andtenacity, but there’s nothing Lonestar loves more thana challenge. Five hundred concerts in their first twoyears. Crossing over from country to pop and backagain after no one else topped both charts at the sametime since 1983. Selling 10 million albums, landing 10Top 10 country hits and collecting nine top 10 pop hits.Packing audiences with guys who love their rockingshows and ladies who swoon over the romantic hunks.That’s just the kind of hard work that fuels the band.

So when it came time to record their 10th album, thefirst in four years, their years of hard work and creativegrowth naturally led them to helm it on their own forthe first time in their career. True to form, Party HeardAround The World — like all of Lonestar’s hits, toursand awards — is the result of old fashioned talent anddedication paying off. By the time the band entered thestudio in late 2009, original member Dean Sams hadalready logged in years of production work, some withLonestar and plenty with other bands. It just felt rightfor Lonestar to write and produce their own album thistime. Lead guitarist Michael Britt explained in a recentinterview, “We feel that this album is a complete reflec-tion of the group. It’s personal and powerful music thatreflects the core values of Lonestar through lyrics, per-formance and production.”

Writing eight of the album’s 10 songs also meant thatLonestar fans would get a first-hand look into thehearts and minds of the group. Each song, from theanthemic title track to the show-stopping “You’re TheReason,” reveals the personalities, emotions and inspi-

rations that collectively and individually make theband who they are. “We sat down together and workedall these songs out,” recounts lead vocalist CodyCollins, “we put our hearts and soul into it.”

To date, Lonestar has sold over 10 million albums,with 10 No. 1 country hits as well as nine Top 40songs on the Billboard Hot 100 charts including “I’mAlready There,” “Come Cryin’ To Me” and theirsmash, “Amazed,” which spent eight weeks at the No.1 spot on the country charts as well as reaching No. 1on the Billboard Hot 100. The dual win made themthe first country act since Kenny Rogers & Dolly Par-

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who critics lauded more thana decade ago for havingbrought, “renewed beauty andelegance to the twin-fiddle,steel guitar tradition of theold-time honky-tonk bal-ladeer.”

The editors of Country MusicMagazine, in celebration ofthe magazine’s 25th anniver-sary, compiled the individualchoices for the best 20 recordsof the past 20 years, three ofJohn Anderson’s early albumsmade their respective shortlists.

Other awards include aGrammy Award in 1996 forAmazing Grace: A CountrySalute To Gospel.

In 1994, the Academy ofCountry Music honored himwith their “Career Achieve-ment Award.”

The same year he receivedthe Country Music Association“Album of the Year” forCommon Threads: The Songsof the Eagles.

“Swingin’” won the CMA“Single of the Year” in 1983.

He has also receivednumerous nominations forGrammies, ACM’s and CMA’sand has several gold andplatinum album certifications.

Recently, John has released“Anthology” on his own JARecords, distributed byAudium/KOCH Entertain-ment.

This 30-song collection is aculmination of all the hits inJohn Anderson’s career as wellas a few important songs thathave been popular in his roadshow and frequently request-ed by his loyal following.

John states, “This project hasgreat significance to me as thismusic and the musicians whoplayed on it have become a bigpart of my life. I love andappreciate my fans and thankall of the people that havesupported my music!”

John Anderson … aninfluence to many of today’scountry artists, a colorfulcharacter and truly a countrymusic treasure!

AndersonFrom page 5

Lonestar

See LONESTAR, 12


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pledge of personal reinvention.“I’m a little more stable in my life, and not

the crazy, wild-eyed kid that was writing‘Kerosene’ at 18,” she says. “I’ve beenthrough a lot and grown up a lot on theroad. And I’ve always kind of been a littleolder than my age anyway. I have theregular 25-year-old small town girl side tome that likes to make cupcakes and live on afarm, and then I have this rowdy, crazy,headbanging, rock-star-girl side that is mylife on the road. I feel this record showsmore a complete picture of who I am.

On one end of the gamut lies the hard-rocking, vengeful “Sin for a Sin,” cowritten

by Lambert with Blake Shelton, in which itsounds like there might be the hint of ahomicide.

“Maybe, maybe not,” she laughs, refusingto commit to an interpretation. “It’sbasically about cheating, love gone wrong,and the death of something, whether it’slove or a person … That’s trademarkMiranda — the song on my record thatmost sounds like me from ‘Kerosene’ or‘Crazy Ex-Girlfriend.’ Nobody really gets tolive out all their fantasies; I just get to singmine in songs.”

At the other end of the Revolution-aryspectrum is the tender but still thoroughlyrealistic “Love Song,” cowritten with Sheltonand two members of Lady Antebellum. “Asong called ‘Love Song’ I would never thinkwould be on my record,” she admits.

“You know what I mean? Because I justdon’t sing songs like that. But this song isabout real people in real love, not the fairytale. And you know, I guess I’ve reached apoint where, it’s all right to maybe lovesomebody.

Lambert is an artist of many complemen-tary qualities that only appear on thesurface to be contradictions. You can evensee it in some of the magazine covers she’sappeared on. She was recently the focus ofher first cover story in Country Weekly, afterpreviously fronting an issue of No Depres-sion, a publication usually devoted only tonon-mainstream, critically acclaimed, alt-country singer-songwriters. She’s equally at

home on the cover of First, a women’smagazine (“Miranda’s Bliss Tips!”), andGarden & Gun (which trumpeted her as“The New Loretta Lynn”). People named herone of 2009’s “100 Most Beautiful People”…just a year after Esquire named her “Terrify-ing Woman of the Year.”

She may be comfortable embodyingqualities at the far extremes of a particulardivide, but don’t call her a centrist. “I justthink it’s boring to be straight down themiddle vanilla,” Lambert says. “I havepeople that absolutely love me, and I’m sureI have people that absolutely hate every-thing that I ever stand for. But that’s good. Atleast people are passionate about some-thing, and talking about you either way. Butjust down-the-middle plain, that’s neverbeen my style, personally or professionally.”

That may have come as a surprise a fewyears ago to anyone who expected a certainacquiescence out of a former reality showcontestant. Lambert came in third in thefirst season of Nashville Star, whichcertainly set up preconceptions about justwhat kind of artist she’d turn out to be. Yet,with years of playing Texas nightclubs underher belt even as a teenager, she faced downNashville executives with the same steelydetermination with which she’d stareddown rowdy bar crowds. And despite MusicRow’s rep for remaking impressionableartists in its own image, she says she’s neverfaced resistance on her vision from anyoneat Sony Nashville, on up to the label

chairman.“Joe Galante is another person that

absolutely let me be myself artistically. Idon’t know why, but I’m incredibly thankfulfor it, and I don’t want to question it toomuch. I feel sorry for people that don’t havethat.

But I think a lot of it people might bring iton themselves, because if you don’t knowwho you are, then it’s a lot easier to beswayed one direction or the other. And Icame into this business it with such strongconvictions. of: ‘This is me. I can go backhome to Texas and do what I do thereplaying in clubs, or I can try to becomebigger. Anybody want to help me out here?’And it’s worked thankfully.”

Her 2005 freshman effort, Kerosene, puther in an exclusive club, as one of only sevenartists in the history of SoundScan to comeout of the box at No. 1 on the country saleschart with a debut album. Critical supportwas immediately forthcoming: It wasnamed one of the year’s 10 best albums bythe New York Times, Rolling Stone, andCMT.com, among many others. She pickedup key nominations for the CMAs, Gram-mys, CMT Awards, and other honors,beating fellow newcomers Taylor Swift andKellie Pickler to be named as the ACMs’ topnew female vocalist.

In 2007, Crazy Ex-Girlfriend also debutedat No. 1 on the country chart. After a slew of

10Space Coast Music FestHOMETOWN NEWS Friday, April 8, 2011RUNAWAY COUNTRY

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LambertFrom page 3

See LAMBERT, 13


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Dierks Bentley has built an enviable coun-try career with songs that range from toe-tappers to sultry ballads. But last year hethrew country music for a loop when hestepped out of his commercially viable com-fort zone and into the world of bluegrasswith the album Up on the Ridge. The recordhas been a critical coup, resulting in the bestreviews of his career and multiple awardsshow nominations. At the Grammys, thefather of two is up for three awards, with twonods in best country collaboration withvocals and a mention in the best countryalbum category.

• (Up on the Ridge) wasn’t a career move. Itwas just a record of passion. In the countryworld, there’s a lot of fluff that goes on and itcan be more about the game than it is aboutthe music. And this was a chance for me towork with the musicians I love and writesongs we love.

• I stepped off the escalator of countrymusic and just did something that didn’tmake a lot of sense to anybody.

• When I looked back on what I learnedmaking Up on the Ridge, it is what a greattown Nashville is. To make a record like thisand have it be nominated for CMA album ofthe year and be No. 1 on the bluegrass chartsfor several weeks and be part of the Gram-mys, just all the love I’ve felt has remindedme of why I love Nashville so much and whata great town this is to be creative in.

• I make decisions on the fly without think-ing about the implications.

• I always wanted to make a bluegrassrecord, and I didn’t want to do it at the end ofmy career but in the middle.

• It really made me realize that my musichas always been a blend of both of those(country and bluegrass) worlds.

• Writing for me changes with every record.• There are some guys in town that are real-

ly smart and have it all figured out. They findtwo or three people and they write songswith them and they save a lot of time justwriting with the same people over and overagain. My style of writing is more like a shot-

gun blast. I writewith all sorts ofpeople, maybethey’ve had hits,maybe they’venot.

• I probablyhave writtenmore songs onmy albums thananyone I knowexcept maybeTaylor Swift. ButI really discov-ered making theRidge record thatit’s fun to listento other songs, and I enjoyed it. There are alot of great songs out there, and I just wantedto find something that complements the(next) record and works well in the framingof what you’ve already written. So I reallyhave reached back into the community.

• Someone told me a while back, makesure you pick a hit you can live with becauseyou’re going to sing it the rest of your life.

• I think we set a model from the beginningthat a lot of people followed, which was tour-ing and touring hard and even passing upsome big tours opening for 30 minutes andinstead going out and playing two and a halfhours in small bars. We really liked the audi-ence in our face and being part of the show.It made us honest.

• It’s the biggest cliche in country music,but the fans are my biggest takeaway. You tryand not take yourself too seriously with whatyou do, but I take myself really seriouslywhen I’m on stage. I know that people arethere because this music is part of their lives.

• I try to avoid looking at people as part of alabel or as part of a call sign for a radio sta-tion. I just like being around good people.

• I love the fact that I can be a man and be alittle boy. I get to go on the road and playXbox with the guys in the band and drinkbeers and play music and rock out, and thenI get to come home and have a real life withreal responsibilities and be a father. A mancan still go be a boy, but a boy can’t go outthere and be a man.

By Cindy WattsFor Hometown News

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ton’s “Islands In the Stream” in 1983 toaccomplish this career milestone. Butthey make it clear that this is a band stillgrowing.

“After everything we’ve been through,we’re still trying new things,” says MichaelBritt. “We’re still growing as artists, andwe’re able to be creative in addition to

having the wealth of success and experi-ence that we’ve achieved – that’s what setsus apart.”

With the release of Party Heard AroundThe World, Lonestar will return to theroad with a national tour that takes themacross the country and back through therest of 2010.

Stops along the way include an after-noon at QVC, where they’ll be able to talkdirectly to their fans who call in, perform-ances on the CBS Early Show, Fox &Friends and Huckabee, and a day at GAC.

LonestarFrom page 7


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top 20 singles, the sophomore albumgenerated her first top 10 hit, “Gunpowderand Lead.” It was named one of the top 10albums of the year by Entertainment Weekly,Blender, and “dean of rock critics” RobertChristgau. In the Village Voice’s annual all-genre poll of America’s music critics, itplaced No. 15, the highest showing ever by acountry album amid the usually rock- andhip-hop-favoring survey. It fared evenbetter—No. 1, to be exact—in the NashvilleScene’s annual poll of national critics whospecialize in country. “This year, our 96voters handed Texas singer MirandaLambert one of the most dominatingvictories in the poll’s history,” the Scenewrote in announcing the results. (The criticsalso named “Famous in a Small Town” theyear’s best single, as well as naming Lambertfemale vocalist of the year, songwriter of theyear, and artist of the year.) It wasn’t justjournalists handing out the accolades, butthe music industry, as Crazy Ex-Girlfriendwon the coveted album of the year trophy atthe 2008 Academy of Country MusicAwards.

What to do for a three-peat?To some degree, “we went with the school

of ‘If it ain’t broke, don’t fix it’,” she says. “Weworked with the same guys to do the record

that did my last two—same musicians,same producers.” In the latter category areFrank Liddell and Mike Wrucke. “Frank issuch a great song guy… And Wrucke’s thetotal brain behind the way my recordssound.”

But there are crucial differences, too. Forone thing, Revolution includes 15 tracksinstead of the Nashville standard 10 or 11.“To me, if there’s a story to tell in 15 songs,then people get 15 songs. I really wanted itto feel like a piece of art — a real body ofwork, a musical journey if you will. And it isan album. The whole album is this hugecircle with a picture of my face at the end. Ifyou don’t have the whole thing, then youdon’t have the complete picture.”

To ensure the album had both cohesive-ness and spontaneity, the vast majority of itwas recorded in one whirlwind session inearly 2009 (excepting two tracks that werelaid down last November). “It was oldschool,”says Lambert. “We went in and cutthe whole project in a week. I didn’t want togo record two songs one day and then twoweeks later go record some more, and so on.We did it all as a single project, a vibe record.

Usually the studio is really stressful, andthis time it was just fun. It just felt likemaking music… not work.”

Stylistically, she says, “This record iscountry—a lot more country than the othertwo. And I’m so glad about that. I didn’t planon writing more country songs or go into it

with a style in mind, I just wrote what I feltand put it on the album.” Of course, diehardtraditionalists should be warned that, whileshe’s capable of getting as pure honky-tonkas any young performer out there, Lambertis definitely a volume dealer. “My bassplayer brought up a good point: ‘You writecountry songs and put a rock beat to ‘em.’ So‘Maintain the Pain’ is definitely a countrylyric, but it’s got a classic rock sound to it.”

And mind-set? “I still hear the classicMiranda Lambert lyric and voice andattitude. But I definitely feel like this record’smore well-rounded than the other two. I feellike it’s a little more grown up.” Not that shedidn’t always have a certain precocity. “Myparents were private investigators, and I sawa lot and heard a lot growing up. As a familywe went through financial hard ships whilegrowing up, off and on we had to “grow” ourown food. Going through all that really doesstick with you, builds your character and letsyou know who you are.

Miranda has been through some changesin the last two years, like moving from Texasto Oklahoma, where she bought a farm afew miles away from her boyfriend BlakeShelton’s.

“It is like moving to another country, ifyou’re from Texas!” she interrupts, laughing.“I have a little house on my parents’ placethat I’ve had for a long time. But I felt like Icouldn’t live 100 feet from my parents therest of my life. So I bought a farm, and it’s

been the most amazing place. I feel like Igained some independence by buying someland and some animals and raising chick-ens. I really feel very grown-up now!”

There is a measure of romantic contented-ness in some of Revolution’s songs, like theaforementioned “Love Song,” or even thewryly mocking opening track, “OnlyPrettier.” But if you’re worried that Lambertmight get a little too settled for her ownmusical good, don’t. Was it hard to tap intotension when she was feeling that goodabout her personal life? “I found it amazing-ly easy,” she counters. “Being happy and inlove is the worst thing for your figure andyour country music songwriting. But eventhough I’m happy and have a really great liferight now, I found some angst.”

The maturity of ballads like “VirginiaBluebell” and “Love Song” doesn’t precludea fair share of new material in whichLambert definitely still acts her impetuousage. “I wrote from my perspective andwhere I am at 25 years old. It is who I am,and it’s pretty honest.” That bluntnessextends to interviews. “I’ve always beenopen and really say my opinion. Not in arude way; I don’t ever want it to come acrossas cocky. I’m not cocky, I’m confident. I justthink I have something to say. If people don’tlike it, then they don’t like it. You can agree todisagree.”

LambertFrom page 10

See LAMBERT, 15


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RCA Nashville recording artist JakeOwen emerged as one of country’s hottestyoung talents with the 2006 release of hisdebut album, “Startin’ with Me,” and he’sbuilt on that excitement with his latestalbum, “Easy Does It,” and a growing listof hits that includes five consecutive Top15 singles with such songs as the self -enned “Don’t Think I Can’t Love You” and“Eight Second Ride.” A past ACM winneras Top New Male Vocalist, Owen hasearned CMA, CMT, and GRAMMY awardnominations while becoming a fan-favorite, appearing on such programs asGood Morning America and CMT MusicFestival: Country’s Night to Rock, andtouring with superstars like Brooks &

Dunn, KennyChesney, AlanJackson, BradPaisley,Sugarland, andCarrie Under-wood. Owenwill join KeithUrban on theUS Leg of his‘Get Closer2011 WorldTour’. Jake iscurrently inthe studiorecording his third album, due for releaselater this year.

Jake Owen busy touring,collecting accolades

You may get an even greater sense ofLambert’s firebrand side from “Heart LikeMine,” in which the singer writes about herexpectations of the hereafter… whichinvolves Jesus greeting her with a couple ofwine glasses.

“I grew up in church, and I’ve been aChristian my whole life. My mom alwayssays I cut my teeth on a church pew. It couldbe autobiographical in a way, because I’vedefinitely had my share of being judged butI’m playing a character a little bit in every

song, too.”Lambert is a character, in a lot of people’s

minds — and while she doesn’t actively tryto go against the Music Row grain, shedoesn’t mind if she’s perceived that way.

“I hope I’ve been able to break open somedoors for more open-mindedness incountry. People have told me I have. But it’sbeen a lot of work, and it’s been a lot ofputting my feet in the dirt and saying, here’sthe line I won’t cross. I may have lost a lot ofthings for it or I may have gained a lot ofthings. But I know that I sleep great at night.I hope to do this forever, whether it will beperforming for 10,000 fans or singing insome bar, 20 years from now.”

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LambertFrom page 13

Jake Owen

Justin Moore’s journey“It’s a dire road, a fishing pole, a cold beer

sittin’ on a tailgate, an old church, a kindword, it’s where I was born and raised, Heav-en ain’t that far away.” The lyrics from Justin’sself-penned song, “Heaven Ain’t That FarAway,” typifies his philosophy on life.

In music and in life, Justin embodies thesoul and character of a kid from a smalltown.

He was born and raise in Poyen, Ark., pop-ulation 272. The town has no streetlights orstreet names. His grandfather, “Paw”Charles, gave each one of his children 15acres of land to build their homes on and toraise their families in – and that’s exactlywhat they all did.

Paw and Grandma Faynette (“Maw”)raised cattle on their farm and from a youngage Justin would help with the chores. He’dbush-hog the land and feed the cows andlearn about hard work.

His other grandparents, Tom and Becky(PaPa and Nanny) live a mile down the road

in Poyen. PaPa tookJustin out to his firstdeer stand before hewas a year old. Hetaught him how tohunt and fish andthey haven’t misseda season since Justinwas a boy.

Justin’s parents,Tommy Ray andCharlene, recognized at an early age Justin’sability to remember songs and to sing them.Tommy Ray has a recording of a 2-year-oldJustin singing the George Strait song “Baby’sGotten Good At Goodbye.”

Says Tommy Ray, “We bought him bootsand a cowboy shirt and a toy ukulele whenhe was 4 or 5 and he became obsessed withthe Dwight Yoakum hit ‘I’m a Honky TonkMan.’ He would sing it into a fake micro-

See MOORE, 16

Justin Moore


When Nashville singer-songwriter Eric Church issued his debutCapitol CD in 2006, he was astonished when he took its songs on theroad. Within months, a cult of rabid followers assembled, packinghis shows, singing along to every word, driving hundreds of miles tosee him and “spreading the gospel” of his extraordinary music.

The nation’s music critics agreed with the fans. SINNERS LIKE MEwas lauded by The Los Angeles Times, People, Rolling Stone, Ameri-can Songwriter and USA Today, as well as a host of country publica-tions.

The New York Times called it “a strong candidate for countryalbum of the year.” Its working-class anthems “How ‘Bout You” and“Guys Like Me” rumbled with force and power. The unforgettablywry “Two Pink Lines” was about waiting for the results of a pregnan-cy test. “Lightning” was sung from the point of view of a condemnedman being electrocuted.

Thanks to Eric Church’s sizable fan base, SINNERS LIKE ME made it into the Top 10 on thecountry album charts. Singles “Guys Like Me, “Two Pink Lines” and “How ‘Bout You” intro-duced country radio and its listeners to the North Carolina-born songwriter.

Brad Paisley, Dierks Bentley and even legendary rocker Bob Seger became fans and hiredEric as their opening act.

So how do you follow a masterwork like that? By creating another one.CAROLINA, the sophomore album by Eric Church, is another collection of strikingly origi-

nal songs and sounds. Reflecting the restlessly creative character of its maker, CAROLINA iseven more musically diverse than its illustrious predecessor.

“I wanted CAROLINA to go to some different places,” said Church. “The first album wasmore aggressive and moody. This one is more diverse, more musical and a little brighter. Ihope people can at least hear that we’re still taking chances.”

“So many people have come up to me because they’ve been exposed to SINNERS. The No.1 comment I get, especially from young people, is, ‘I’m not really a country fan, but I like you.’I have to explain to them, ‘You don’t understand: Country is the coolest format there is. It’s themost real format there is. We have the history, and we have the true artists.’ I try to go outthere on the road and be an ambassador for it, because I love country music so much, and I

want to treat it right.”“CAROLINA is an album. So was SINNERS. Most artists make singles and hope they end up

with a record. I prefer to make a record and hope I have singles. I love country music, and I amvery reverent of the time that I have to make records. That’s what we owe the industry, the for-mat and the fans. We owe them a great record.”

“I make albums,” Eric Church finished with a shrug. “I don’t know how to do it anyother way.”

The cult of Church

Eric Church

phone constately. ‘Bout drove us both crazy.”Soon Justin was singing gospel songs at

church. He won the talkent search at PoyenHigh School when he was 8 years old. In highschool, Justin was a starter on their basket-ball team and helped lead the team to a 39-0season as well as win the state champi-onship. He was an all-region catcher on thebaseball team and received multiple schol-arship offers for both sports and academics;however, Justin took a bold leap and movedto Nashville in October 2002 – just a fewmonths after graduating from high school.

By this point Just had a manager and awriter/artist offer from Zomba music. Asthings sometimes go in the biz, Zomba waspurchased before Justin could sign his deal.His manager hired a top Nashville attorneyto help keep things moving and Justin’sattorney hooked him up with an up-and-coming young producer/songwriter nameJeremy Stover. Together they wrote andrecorded some great songs that reached cel-

ebrated Keith Stegall (Alan Jackson). Keithloved what he heard and in March of 2004signed Justin as an artist/writer to his pub-lishing company, Big Picture Music, with theintention of getting Justin a record deal.

Justin’s first ‘big gig’ was New Year’s Eve2001 at The Music Mountain Jamboree inHot Springs, Ark., where he performed foursongs with the house band and got a stand-ing ovation.

“That was pretty exciting,” Justin said. “Ihad never been in front of 500 people before,so I was a little nervous until I got going, butthen I just loved it. I really wished I couldhave done a few more, but it put the fire inme to go after this as a career.”

He later played at The Roundup in Jones-boro, Ark., to a sold-out crowd of 600. Theenthusiastic crowd of more than 700 wentwild when it heard Justin’s new material.

“It’s a lot of fun playing in the clubs aroundNashville, like The Wildhorse, The Bluebird,The Stage, The French Quarter and all of theothers, but nothing beats going home to playfor family and friends and all the people whoare supporting me in my journey.”

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MooreFrom page 15


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The Cowboys' signing by Stroudavari-ous Records brought together two of themost important elements of the LoCashstory —their ability to capture fans withtheir live performances, and their heart forhumanitarian work, especially with youngpeople.

It came about at another gig, this one inOctober 2008 following the Wicksburg,Alabama, high school football team'shomecoming game. Chris Lucas and Pre-ston Brust, as they normally do, wanted tohang out with the kids throughout the day— they are tireless in their efforts to talkabout alternatives to drugs, which neitherof them have ever used. They attendedclasses and played touch football with stu-dents and were invited to run out onto thefield with the team before the game. Wordgot around and the stadium was filled thatnight for the game and the concert after-ward. Among those present was entrepre-neur Ronnie Gilley, who introduced themto Stroudavarious label head James Stroud.

Within a few weeks, they were signed. Their subsequent breakthrough is fitting

testament to the talent, persistence andhard work that has been evident in Chrisand Preston since their earliest years.

Chris grew up in Baltimore, developing alove for music that would ultimately spaneras and styles, from Frank Sinatra to JustinTimberlake, with special emphasis on '90sR&B and country. He learned break-danc-ing on the city's streets and eventuallytaught others, but most of his time andattention as a teenager went to baseballand football. He says, "Sports is where Ilearned integrity and all the big lessonsabout character."

Preston was born in Arkansas, but grewup in Kokomo, Indiana, where his dad wasa preacher--Preston sang a capella inchurch but had to sneak out to go dancing.He turned out to be a natural, and soon hewas choreographing show choirs, ulti-mately winning a regional grand champi-onship.

"I remember being so excited," he says,"but then I realized something was stillmissing for me. I wanted to perform, toshare what was inside me as an artist, andnot just choreograph for other people. Iknew it was time to go to Nashville."

Chris, at the urging of a friend, had audi-tioned for a singing spot in a theme parkshow, and ultimately worked for Six Flags,Kings Dominion and others. He decided tochase his dream to Nashville as well. Call-ing on his break-dancing experience, hequickly landed jobs as an instructor at twodance studios and at the Wildhorse Saloon.It was there that he met Preston, who hadmoved to town the day before and was outon the town.

They began writing, performing andrecording, devising their strategy on the fly.

"We spent months knocking on thedoors of producers and labels," says Chris,"but then one day it hit us. What we couldcontrol was getting out there on the roadand making LoCash Cowboys a householdname."

It wasn't easy," adds Preston. "We startedout in our cars pulling U-Hauls. Then wemoved to renting vans, then to buying avan, and then we grew into an old WhiteEagle Bus we called Ghetto One that wewrecked our first night."

Their live show did the heavy lifting, withtheir over-the-top energy winning fans incity after city.

As they prepare to have This Is How WeDo It take them nationwide, Chris and Pre-ston are aware of the dichotomy in theirhumble roots and bigger-than-life per-sonas and achievement.

"I think underneath it all, we're relat-able," says Preston. "Chris and I are realguys. You can get behind the smoke andmirrors pretty quick, and we're still justthese two guys from Indiana and Balti-more."

They are also aware that the whole is big-ger than the sum of the incredible networkof parts that has brought them here.

"If you tried to line up the stars like this,it would never happen," says Preston. "Itreally feels like magic and destiny."

The low-down on theLoCash Cowboys

LoCash Cowboys


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After spending the majority of the pastdecade as a successful pop and adult con-temporary artist, Josh Kelley returns tothe Southern sound he’s loved since child-hood with his upcoming MCA Nashvillecountry release. While it may be his offi-cial debut into the country genre, Josh'sprevious hits have always contained dis-cernible country flair.

"This record is a time capsule. It's by farthe best thing I've written and I've neverbeen more proud," revealed Josh, whowrote or co-wrote each of the album'seleven songs.

"I'm finally in a genre where I can writelyrics, tell stories and be a man."

It’s evident that this latest project is verymuch autobiographical, having gottenmarried, moved and adopted a baby girlall in the past two years. These events cre-ated the album and the stories he tells init.

"My life has completely changed. Mywife is a very strong independent woman,she allows me my own independence andfrom the first time my baby girl brushedher hand against my face, my life waschanged. This album reflects thosechanges.”

Josh's MCA Nashville project not onlyshowcases his talents as a singer andsongwriter, but reveals him to be the lat-est definition of a true renaissance man; aman who's confident enough within hisown skin to reveal a new take on senti-mental themes by employing thoughtfullyrics.

“Georgia Clay”, the project's lead single,recalls the carefree summers of Josh'syouth, when he and his brothers wouldhitch up jet skis to their Dad's '77 ChevySilverado and head down to the lake. Thememories made those summers areengrained their lives, as well as the tires ofthat old truck.

With a modern country feel Josh recallshis life experiences with songs like “GreatIdea”, “Ain't Letting Go”, “Two Cups of Cof-fee” and “Gone Like That”. Each of thesesongs embrace the familiarity of timesgone by, not by idealizing the past, but bypresenting unique lessons learned fromit.

"Gone Like That" isn't the typical she'sgone and I don't care take on a one nightstand, it explores an unapologetically sen-sitive man who keeps running into whatcould be the woman of his dreams.

As a kid growing up in Augusta, Geor-gia, Josh experienced both city life andcountry living; thanks to his family own-ing a bit of farmland near their home.

"We grew up half our lives on a farm upin the North Georgia Mountains,” saidJosh. “Summers were spent bush hoggin'acres of land and life in Augusta was allabout golf and music. We had the best ofboth worlds. There was the fun of city life,

plus we got toexperience thebeauty of thecountry," Josh con-tinued.

The first recordJosh remembersbuying was U2'sJoshua Tree, butearly on he wasexposed to a widerange of musicalstyles.

During his earlyteens Josh andyounger brotherCharles (of Lady Antebellum fame) decid-ed to form the band Inside Blue, withCharles on drums and lead vocals andJosh on electric guitar.

Inside Blue released a maxi cd with fivetracks which were played on local radioand eventually caught the attention ofThe Godfather of Soul, James Brown, andhis manager, who wanted to sign them.

"He loved our songs, but they wanted tochange everything, so my Dad and broth-er said ‘no deal’. I’m glad they did thatbecause it afforded both me and Charlesthe opportunity to grow up and see theworld and really have things to writeabout."

Never fully putting his love of music onthe back burner, Josh left Georgia toattend the University of Mississippi undera golf scholarship where he studiedgraphic design. During his junior year,after boosting buzz for himself by way of aself-promoting internet scheme, he even-tually landed his first major label dealwith Hollywood Records.

The year 2003 saw the release of For TheRide Home and the success of its Top 5 hitsingle, “Amazing” and in 2005, Josh releasedhis second major label effort Almost Hon-est and its lead single, “Only You”.

Not long after that, Josh opted out of hisHollywood Records deal and started hisown record label, DNK Records.

With his career firmly in his own hands,Josh released four independent albumsbetween 2006 and 2008.

After a successful career in pop musicand as an indie artist, Josh is back, this timewith a country album steeped in traditionand heartfelt truths.

From the memories of “Georgia Clay”,the raw emotion of “Naleigh Moon”, thehumor of “Raining Whiskey” or the lyricalseduction of “Learning You”, and every songin between, Josh Kelley simultaneouslyrenews cherished country music traditionswhile bringing a refreshing energy to hislatest release. He is, where he feels he'salways belonged, right here in Music City.

Life, musical changes for Josh Kelley

Josh Kelley


Boston Beef and Seafood offersfresh New England seafood,choice steaks, and more….By Sue DeWerff, Staff writer

If you are a true lover of seafood,whether it be Maine lobster or shrimp,scallops or clams, you need not travelany further than North Atlantic Avenuein Cocoa Beach.

Boston Beef and Seafood Restaurantowner, Charlie Soffron, boasts the freshest seafood around. He and hiswife, Kimberly, and two daughters haveowned the restaurant since it openedin Cape Canaveral in 2004. Just morethan a year ago, the former 40 seatrestaurant took over a new location at5590 Atlantic Ave., just north of S.R.520.

The new 160 seat family style establishment features combinationbaskets starting at $9.95, including yourchoice of Clams, Shrimp, Haddock,Flounder, Catfish, Bay and Sea Scallops,Oysters or Popcorn Shrimp all servedwith French fries, onion rings and coleslaw.

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For the land lovers, Boston Beef and Seafood offers three mouth watering selections, a 7- or 10-oz.Sirloin, a 12-oz. Ribeye, or a 12-oz. NewYork Strip, starting at $13.99. Thedinners include a greek salad & potato.

A variety of salads are also available,starting at $2.95. Many are topped with fresh fish or chicken.

“We guarantee our food is the fresh-est you will ever eat,” said Mr. Soffron.After sampling a cup of the deliciousNew England Clam Chowder, madewith fresh Sea Clams, I had to agree. Itwas a real treat.

Mr. Soffron, whose grandfather was apart of the opening of the first severalhundred Howard Johnson Restaurants,came up with the concept of ClamStrips. Charlie has used this recipe

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Lunch specials include a Grilled Fish Sandwich, a 10 ounce fresh SirloinBurger your way, Chicken Sandwich orFingers, & Boston’s famous Roast BeefSandwich served with a special JamesRiver sauce.

After sampling the lightly battered-to-perfection onion rings, I knew why thefried entrees were so popular. The oilused for cooking was clean, as well asthe immaculate kitchen and dining area-- something very few establishmentscan brag about.

Though I did not try the desserts, Iwas told by one of the regular cus-tomers I spoke with that the BostonCream Pie was simply delicious. Otherdesserts on the menu include Key LimePie, Coconut Cream Pie & SnickersCheesecake, all from a local bakerynearby.

The nautical Boston Red Sox-themeddécor, along with the friendly serviceand comfortable atmosphere, makeBoston’s a great choice for groupfunctions, as well. A special room in theback of the restaurant is available andcan accommodate up to 50 people atonce.

A wide selection of wines is available,and the featured beer includes severalNew England style-ales, as well asdomestic brands.

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There is a cool moment, preserved forposterity in TV syndication, when JoshuaScott Jones and Meghan Linsey, the duoknown as Steel Magnolia, make the connec-tion that changes their lives.

It’s cattle call audition day for season twoof CMT’s Can You Duet? Josh and Meghanare secretly ambivalent about the wholething, skeptical that the judges (especiallythat big-time record executive on the left)are going to get their very unique sound.

But a few bars into the first verse of theirsong “Ohh La La” we see that record execu-tive have his first ‘Ah Ha’ moment.

A blank face cracks into a grin. Thencomes the chorus, with its rising swell of sur-prise and passion. Naomi Judd points at herown goose bumps. And by that point, therecord executive is wearing a 100-watt smile.

His name is Scott Borchetta, and his YESvote that day began the journey that wouldput Steel Magnolia in the winner’s circle ofCan You Duet? and on his label, the feistyand independent Big Machine Records. Theeagerly awaited debut album you have herealso makes its first impression with “Ooh LaLa,” and if you have a musical bone in yourbody, you too will be smiling halfwaythrough. Spirited, romantic and elusivelydifferent, it’s the perfect three-minute distil-lation of Josh and Meghan’s fresh, soul-lean-ing approach to country music. They do notsound like twins in close harmony; ratherthey’re a study in contrasts that shows howtwo bold and identifiable voices can meshtogether, making something bigger and bet-ter.

In the year since winning the show, SteelMagnolia has gone on to win over manymore influential fans and supporters.

Their bracing take of “Keep On Lovin You”by country soul powerhouse Chris Stapletonbroke through as the highest charting debutsingle by a co-ed duo in Billboard history.The song has been downloaded more than amillion times and landed in a major motionpicture. Josh and Meghan spent the summerof 2010 touring alongside Brad Paisley on hismassively popular H20 Tour. And evenbefore the release of their debut album, SteelMagnolia snagged nine major industryaward nominations, including Vocal Duo ofthe Year at the CMA Awards. No wonderthen, that you’re seeing Josh and Meghan onevery “Whom To Watch” list in countrymusic.

Josh and Meghan’s path to newly hatchedstardom was paved with surprises for both.“I’ve got to be honest,” says Josh.

“I never in my wildest dreams thought I’dbe in a duo with my girlfriend. But it was anundeniable thing, and people connected to

it.” And as for Meghan, she says “we bothhad to swallow some pride and get on thewagon, because there was definitely some-thing special there. Other people could seethat. In fact everyone around us could see itbut us.”

But before these two strong-willed, power-ful personalities could meet, they had toarrive in Music City, and they did so fromvery different places.

Meghan spent her childhood in NewOrleans. Then her family moved to nearbyPonchatoula, just north of Lake Pontchar-train, when she was 12. Even then, her plansto become a professional singer – sparkedby the gift of a karaoke machine – werealready in place, aided by a very supportivemother.

“When I got to be about 14 my momhelped me put a band together, and most ofthe guys in this band were like in their 50sand had been playing in the Quarter for 20,30 years,” Meghan says. “So it was an agewhen you soak things like that up and I thinkI learned a lot playing with guys like that. Itdefinitely influenced the way I sing andwhat I was singing.”

That included soul classics, up to dateblues tunes by the likes of Susan Tedeschiand hard-core country, especially theexpansive and explosive music of TanyaTucker.

“There’s definitely an element of soul incountry music” Meghan says when askedabout the defining aspect of Steel Magnolia’ssound. “Country is all my mom listened to.That was definitely in my blood. My dad wasvery ‘70s rock and roll.

The combination of my dad and mymom’s influences along with living in NewOrleans in such a musical environment, itdefinitely all influenced the way I sing.”

Josh figured out his musical identity in avery different environment. Born in Hous-ton but raised by an adoptive family in ruralIllinois, his father was a factory worker onweekdays and a minister on Sundays. Athome Josh heard his folks’ classic countrymusic and his older brother’s rock and rollexplorations. He loved Waylon Jennings andthe Beatles. The rest came at church. “Themusic in our little country churches with 10-12 people was pretty traditional,” he says.“But we ended up going to an all blackchurch called Second Baptist when I was 13.We went there for two years, so I gotimmersed in the stomp.”

So immersed in fact that, in his early teens,Josh wrote a song about racism in the wakeof the Rodney King riots and basically made

Yes, they can duetDuo Steel Magnolia got start on popular CMT show

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his songwriting debut in front of his congre-gation. It went over well, but not withoutovercoming an epic case of nerves and, insome ways a career was born that day.

Josh came to Nashville as the leader of arock trio and earned some notice on localradio. Meghan had her sights on a singingcareer and moved to Nashville as a new stu-dent at Belmont University. After about ayear, she focused on singing and her job at adowntown karaoke bar. If you’ve heard onebiographical detail about Steel Magnolia youknow that they met at karaoke, where theygot to hear each other sing for the first time.(The now famous meeting became theslightly fictionalized storyline for their debutmusic video, “Keep On Lovin You.”)

Their on-stage/off-stage chemistry alsostarted giving rise to original songs. The veryfirst one they wrote together,

“Edge of Goodbye,” became a calling cardand made their debut album. As they workedand wrote, the dynamics of their duet styleworked itself out.

“Well I’m not a very good follower so Ialways seem to take the lead and Meg’s justreally got a good ear,” Josh says with a mix ofself-deprecation and admiration of his part-ner. “I think we both have a knack formelodies. I don’t think there’s a lot of thinkingthat goes on behind who’s going to sing this

or that line. It’s more of a tonal quality thatkind of comes together and just works,almost like a sibling thing.”

“And that’s why I feel like we were meant tosing together,” says Meghan. “From that firstsong when we started working on ‘Edge ofGoodbye,’ the only thing that’s ever reallyworked is what happens naturally when hesings and I start singing, too.”

That’s not to say a ton of work and creativitydoesn’t go into the Steel Magnolia sound.Case in point was the strikingly new arrange-ment they offered of Hank Williams’ “I’m SoLonesome I Could Cry” during Can YouDuet? Worked out in the middle of the nightin a ladies’ room of the Gaylord OprylandHotel, where the show was being filmed, Joshand Meghan took a classic and honored itwith the reworking of some of its melody andsome creative tempo shifts. Meghan remem-bers, “We both thought ‘we’ve got to come upwith something that’s going to make thissong different.’ We knew it was a risk.”

Obviously the risk paid off, and the pairfound themselves at Big Machine planningtheir debut album. The news that BigMachine had lined up super-producer andguitar star Dann Huff to produce the albumwas both inspiring and intimidating.

At an early meeting, Josh went so far as toblurt out: “I want to make sure we make aSteel Magnolia record, not a Dann Huffrecord.” It’s an assertion he looks back on asaudacious but necessary.

“I was so scared. We’d worked so hard. I just

had to say it. I didn’t want to get swallowed bya beast. I didn’t want something bigger thanus coming in and taking us over and makingus sound like something we weren’t. You haveto stand up for what you believe in.”

Meghan fully supports the slightly impoliticmove. But she’s also quick to note that Huffwas amazing to work with. “He is the mosthumble guy you ever met. And of course he’svery good at what he does and he definitelychallenged both of us.”

The resulting album takes a real journey,

from the sparkling, genre-less opening tracksto songs toward the back that pay perhapsmore homage to country music tradition andmore complex subject matter. Josh andMeghan penned seven of the 12 tracks,including “Last Night Again” a buddingromance song that was on the bubble formaking the CD but which turned out to be aband favorite. And then there’s the funky, sexy“Eggs Over Easy,” driven by harmonica andacoustic guitars, leaving tons of sonic spacefor the locked-in harmonies of Josh andMeghan to really shine. Then, after a swampyblues written by Keith Urban called “Home-spun Love,” we hear Josh really step forwardas a hard core country songwriter on “GlassHouses,” a powerful song about addictionand the darkness than sometimes has tocome before the dawn.

When this powerful collection arrives, itwill be merely the capstone of a year that’sseen Josh and Meghan come into theirown. They’ve shined at the Grand Ole Opryand gotten their stage legs in arena atmos-pheres. They’ve reached back to their fansover the internet and shared some of thelove and affection that’s clear when theysing together.

But then Steel Magnolia is a partnershipat so many levels. They confess that work-ing together and shaping their music is alot more challenging than just beingtogether as people. But they say the cre-ative tension have always produced greatresults.

Steel MagnoliaFrom page 21

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