Buy Sam Thacker Music

Buy Above the Underneath on CD | or download on

I've been playing Sam Thacker's upcoming CD Lines (Out In September) in my ipod for almost a week, and the best way to describe this Atlanta Georgia singer/songwriter's Sophomore effort is "Solid".

Thacker really shows his songwriting skill on Lines, and its obvious that Sam's true calling is writing good songs.

• "Yes", the first cut sweats emotion, and starts Lines off with a real bang. If you've ever been scorned by a woman (or a man I guess) you'll identify with this tune.
• "Don't Leave Here Tonight" has a chorus that's infectious, and I'd swear I hear a Cure influence in there somewhere.
• "Who I'd Rather Be" is an introspective song, with another amazing chorus that makes you sing along (Da Da Da Da, Da Da Da Daaa)
• "North" should have the Kids snuggling this fall at HomeComing dances everywhere

But if you really want to get a taste of Sam Thacker, and Lines, just listen to "Right Where We Want It" and you'll know why I'm wondering why every pop station in the country isn't playing Sam Thacker. By its "official" release in September, they just may be.

"Right Where We Want It" features Corey Smith, but this song would stand strong without Sam's frequent Touring Buddy. (BTW, Corey Sounds amazing with that power behind him, the appearance reminds me of seeing him back at Classics, AKA The Night Owl when he was in a "Rock Band" in the mid-nineties.)

So if you're looking for a solid Power-Pop CD to purchase this fall, you'll definately want to wait for Lines. Of course, unless you're planning on getting to one of Sam Thacker's Shows this summer (he's got less than 100 copies left) , you'll have to wait until September.

Popularity: 22% [?]

Its finally here

Click Here to Buy Outtakes from The Georgia Theatre Here

Everybody wants to know: How Can I get Corey Smith "Fuck The Po Po" (The Po Po Song)?

Will He ever record "Backroads"? How Bout "Can't Judge a Book By Its Cover"

Corey Smith Will Be releasing a Live 6 song Download Only Album entitled Outtakes from the Georgia Theatre, and we're excited as Heck about it!

It will include the following Songs:

1. "Maybe Next Year"
2. "Party"
3. "Backroads" (the Roadhead Song)
4. "Fuck The Po Po " - (The Po-Po Song)
5. "Cant Judge A Book By Its Cover"
6. "Drinkin Again"

If you've never seen Corey Smith Live, you may not have heard many of the songs on this 6 CD set. One listen and you'll understand why this Jefferson Georgia Native is a virtual Pied Piper of Southern Culture.

You'll be able to buy Corey Smith - Outtakes From The Georgia Theatre here, or at the Official Corey Smith Website on July 8th

Corey Smith Official Website

Corey Smith On Myspace

The Georgia Theatre - A Classic City Icon

If you've ever spent any time in Athens Georgia, you've spent lots of time at The Georgia Theatre. I spent most of the nineties in the Georgia Theatre Balcony (I was the guy with the funny hat). Its a right of passage for young Southern singers and bands to headline the Georgia Theatre.

RandomThings I've Seen At The Georgia Theatre:

• U.G.A. Football - Its like being at the game, but you don't have to hide your beer
• Kinchafoonie, Josh Joplin, Rollin' In The Hay, Collective Soul, David Allan Coe, Govt Mule, Jump Little Children, Ben Folds Five, the list could go on and on....
• "Wizard Of Oz set to The Wall , Pink Floyd Lazer Light Show, Dazed And Confused
• In the 90s they set up a dance club between 2 and 4. No Alcohol, and it turned into a bunch of high-school kids out past curfew...
• Random fights, break-ups, hook-ups, naked women, naked men (eww!)

Popularity: 25% [?]

Buy "Sing Me Back Home" by Dana Jennings

By Joe Samuel Starnes

In Hank Williams, Jr.’s anthem “A Country Boy Can Survive,” he lays down the parameters of the rural man’s turf: “We’re from North California and we’re from South Alabam and little towns all across this land.” It confused me growing up in the foothills of Georgia as I did that Hank Jr. would stretch the border so far up and west, well beyond what I then considered the boundaries of rural America. I marked it down as either the old Confederacy or the states represented in the Southeastern Conference. It wasn’t until I moved north to New Jersey and then Philadelphia that I learned that some folks here like country music too, and not all of them grow up in penthouses. Some of them, people like Dana Jennings from New Hampshire, author of Sing Me Back Home: Love, Death and Country Music, in fact, grew up using outhouses. And like Jennings, they revere country music as much as anyone.

Jennings, an editor at The New York Times who wrote three fine but largely forgotten novels in the eighties and nineties, has written a country music memoir unlike any book about country music and/or memoir I’ve ever read. It deftly intertwines the hardscrabble stories of the Jennings clan in gritty New Hampshire with the music that they loved and lived by: Johnny Cash, Hank Williams Sr., Merle Haggard, Webb Pierce, Patsy Cline, The Stanley Brothers, and many others that recorded in the golden age of country music from 1950-1970. His writing about music is sometimes frantic and often poetic, cutting loose like a stock car on a dirt track. It is at times hilarious and at times heartbreaking, and sometimes, like great country songs and literature can be, both at once. For example, here’s how his Uncle Lloyd managed $270,000 he won in a lawsuit against a landlord after a house fire killed his wife and three of their children:

With that money, Uncle Lloyd bought a $600 parrot that then keeled over and died; put down $10,000 down on a house, which he then lost; spent $5,000 on a lunch-wagon franchise, then managed to go out of business between Memorial Day and the first of August—the busiest time of year—not even gasping through till Labor Day; bought thousands of dollars’ worth of hard liquor; paid $2,000 for a $100 pickup truck; and threw away $200 on some godawful painting of the White Mountains, gave it to Grammy Jennings, then told her he wanted it back when she died. Nobody objected.

Jennings writes personally about all the main themes infused into country music of that era: love, lust, drinking, cheating, fighting, family work, prison, poverty, God. This is not one of those cultural book about the coolness of the beatniks or the free love of hippies or the glamour of the good life or the heyday of Hollywood, but a musical ode to all things real and difficult and wonderful along the backroads, a long way from the big buildings and the traffic lights, in places where the Great Depression still lingered into the sixties. Although, as Jennings writes, he now works in a fancy Manhattan tower designed by Italian architect Renzo Piano, that swampy rural background is what formed him, where he worked his first jobs. His white-trash credentials are authentic. He writes:

Me and the old man know what work is, though, because we both did time at Kingston Steel Drum.

Kingston Steel Drum skulked in a sandpit off Route 125 and poisoned my hometown for decades. The factory handled paint drums and insecticide drums, peanut butter drums and shampoo drums, acids and solvents, oil and raw alcohol, which some of the men would cut with Sprite or ginger ale, and then drink. There were drums foul with chemicals whose names we couldn’t begin to pronounce, but we all understood the skull-and-crossbones stickers plastered on the sides.

Later in life, when he’d moved up in the working world, Jennings had another encounter with the place where he and his father had toiled.

The Justice Department and the Environmental Protection Agency shut the place down in the early 1980s, and it was named one of the one hundred most dangerous Superfund waste sites in the country. I covered the closing as a local newspaper reporter. When I worked at Kingston Steel Drum, I used to wear dungarees and a T-shirt, rubber gloves, and steel-toed boots. Before the EPA let me on the site, I had to put on a hard hat, goggles, a respirator, and an impermeable Tyvek suit.

There are scenes in Jennings’ 1996 novel, Lonesome Standard Time, the story of a New Hampshire town ravaged by a toxic waste dump, clearly inspired by this real life experience. You could and should look that novel up.

I could go on quoting sections from Sing Me Back Home: Love, Death and Country Music at length here the same way I can sing Willie Nelson’s rendition of “Whiskey River” over and over. Suffice it to say, though, that Jennings has written a book that will resonate like a piercing steel guitar with classic country music fans all the way from New Hampshire to South Georgia and beyond.

Popularity: 28% [?]

Buy Honeydew

Buy The CD on Amazon | or download it on

The first time I heard Shawn Mullins (Soul’s Core) his music hit home the way only a local songwriter from your part of the world can do. The language was familiar, the stories were the kind of stories I’d grown up hearing, and still seem uniquely North-east Georgia.

Fast forward to 2008, and Mullins newest offering, Honey Dew. You’d expect Shawn Mullins music and song-writing to have matured over the years, and that it has. But there’s still that sense of reality that’s missing in many mainstream artists’ albums these days.

“All In My Head” starts Honey Dew Off with a bang. This is a radio-friendly introspective song is a great way to start out the Atlanta Georgia (originally from Dawsonville) artists newest album.

“The Ballad of Kathryn Johnston” tells the story of inner-city troubles and a police shoot-out with the elderly Johnston, which left Johnston dead and the police to answer many questions.

“Homeless Joe” is a mix of Skynyrd’s “Curtis Low” and Arrested Devlopment’s “Mr. Wendell” and blends blues, folk, and rock into a unique mixture of Americana

“Cabbagetown” is perhaps the best song on Honey Dew, and represents the best of the “Old” Shawn Mullins and the best of what’s yet to come from this proud Georgia artist.

Its obvious that Shawn Mullins move to Atlanta has affected him as an artist in many ways. I’d dare to say Honey Dew could be an unofficial soundtrack to Atlanta that keeps you coming back to discover new parts of the music, like I discover new parts of Atlanta each time I bring myself to drive inside I-285. He tells his stories with the compassion you expect from someone living in rural America. One listen to Hone Dew will showMullins has not lost his soul.

You can take the boy out of the country, but you can’t take the country out of the boy.

---

Shawn Mullins On Honeydew

SHAWN MULLINS ON THE SONGS OF HONEYDEW:

“All in My Head”: The song’s theme of self-examination belies the fact that it was written by Mullins and Hansen as a prospective theme song for the sitcom Scrubs. The original 2002 recording was lighter and more uptempo than this powerful new version, in which Mullins delivers an arching falsetto vocal in the chorus. “When we FIRST started the recording, I was having a block, and Gerry said, ‘Shawn, I’m tellin’ you, that shit’s all in your head, just like that song we wrote.’ And I said, ‘Man, we oughta dig that up.’ The next thing I knew, we were all sitting around working it up in a whole different groove.”

“Home”: “The first verse is about my dear friend Melissa Hadley, a musician in Athens and the funniest woman I ever knew, who died at 38 of ovarian cancer. The second verse came to me as I was looking at old pictures of Cabbagetown, a section of Atlanta that was once inhabited by Irish immigrant mill workers. In one photo, there’s a boy sitting in front of a dimestore, looking as emaciated as a POW. I got to thinkin’ that it wasn’t that long ago, right here in my hometown.”

“The Ballad of Kathryn Johnston”: Literally ripped from the headlines, the song is about an aged woman living in a crime-infested Atlanta neighborhood who got a gun to protect herself. When intruders broke down her door one night, the woman started firing, not realizing her assailants were police officers, who, it turned out, had targeted the wrong house in search of drug dealers. “Reading Dylan’s Chronicles inspired me to look for news stories, and this one really grabbed me. So little was said about it because that’s how things are in rough neighborhoods, which is what I meant by the line, ‘everything stays the same.’ But it all changed for me, because I connected with her. Sometimes I don’t feel safe, especially after we got cleaned out last year. But we don’t have a gun in the house. Even though I’ve got a little army in me [after college, Mullins was commissioned in the U.S. Army Reserve], I don’t wanna live that way.”

“Homeless Joe”: “There really is a Homeless Joe here in Atlanta, along with Shorty, Blind Bob, Wolf and other strumming, homeless troubadours. They’re living through their art, even though their lives are tough, without enough to eat or a place to sleep, and they’re viewed as winos on the street. The song is a celebration of those people who are following their bliss, even in the most difficult of circumstances. I’ve always connected with them; I see them as modern-day examples of the wanderer.”

“Leaving All Your Troubles Behind”: “This is the story of a girl who lives in a town in the North Georgia Mountains where there were once textile mills, but now the biggest industry is trailer meth, cooked up by the grandkids of moonshiners. There are a lot of people in small towns in the South that try to escape, and most of them wind up coming back. But not this girl; she’s seen enough to know that’s not where she belongs.”

“Fraction of a Man”: “A modern-day traveling salesman finds himself in Biloxi, and suddenly it hits him — ‘What am I doing with my life?’ That’s a really common thing for a lot of middle-aged American men, who want to follow their bliss and really go for it, but somehow they never do. This one leaves you with a reality check, with the

alcoholism, the loneliness, and the nomadic existence. It’d make a bummer of a movie.”

“See That Train”: “I love trains. My grandfather, father and brother-in-law all worked for the railroad, and I miss all the stories I used to hear. The song is about a hobo whose girl has left him asleep under a water tower and taken the train to Birmingham. I feel so unhip, because all the stuff I’m interested in is old. But there’s something about that America of yesterday that I long for; sometimes I feel like I was born in the wrong time.”

“For America”: “I wanted to have something on the record that would express what I wanted to say not as a protest song but more like Woody Guthrie, Pete Seeger or early Dylan might have written. This song talks about the modern America and that feeling of what’s going on? Where are we headed? Where are our leaders? There’s a longing in the song for something that can’t be felt anymore.”

“Cabbagetown”: “It was a tough neighborhood until the late ’90s; now it’s one of the largest complexes of loft housing anywhere, surrounded by these rows of tiny shotgun houses where the mill workers used to live — now they sell for $400 grand. But this song is set in the late ’80s, when Cabbagetown was overrun by skinheads and junkies. It’s about a guy my age who wakes up one morning, looks around and decides he’s gotta get back to the mountains, where his grandfather came from. My family was full of sharecroppers and cotton mill workers — like my grandmother, who’s 93.”

“Nameless Faces”: “That one has to do with me leaving my family when I first hit the road. I really needed to get out of this little town where my first wife and I were living and play music and be with other people who were creating. I didn’t come home for a long time, and I lost contact with everyone, so it’s about my family trying to call me home.”

“Song of the Self (Chapter 2)”: “I wrote a song called ‘Song of the Self’ in ’95, right after I started going to therapy. I had a great therapist who showed me how to move on from my childhood demons, use them to my advantage and try to forgive. I hadn’t written another song like that since then, until this one. It just came to me early on in the process of writing this record. I sang these words into that little recorder, and it was exactly what I wanted to say. I’m talking to myself, but I’m also hoping that whoever listens can get something out of it. Because with all that’s going on, I feel like a little hope is a good thing.”

“Now That You’re Gone”: “That song is somewhat coming from me talking to my mom, but it’s also about my dad, who’s just had an awful time since she died. He’s remembering those times, especially in the second verse. The first is me imagining them dating, and remembering the stories they would tell about when they were childhood sweethearts in Lakewood Heights.”

(more...)

Popularity: 21% [?]

By Joe Samuel Starnes

When Joe Samuel Starnes, novelist, and friend of The Georgia Jukebox offered to write a review of The Drive-By Truckers Philadelphia show for the jukebox, we were honored he'd use our website to publish thoughts on one of his (and our) favorite bands.

I grew up near Cedartown, Georgia, in a white clapboard farmhouse that had been in my mother’s family for generations, sitting on a low hill at the end of a red dirt driveway about half a mile from the paved road, not too far from the Alabama state line. We were so far out in the country that if anyone drove up our road you knew that they were: a) coming to see you; b) lost; c) hunting for somewhere out of the way to drink and smoke something illegal and/or consummate an illicit relationship that would have brought worlds of hurt down on their heads if they had taken it into their bedrooms at home.

Today I live in a Philadelphia row house where the sidewalk passes right by my living room window and in the afternoon Catholic school kids pass by cussing at each other like demented sailors and expectorating loudly in the street. Sometimes late at night from our third floor bedroom with the windows closed tight and the curtains drawn we can hear drunks caterwauling, either singing if they are happy or cursing up a hell storm if they are not. There aren’t enough letters in the alphabet to list the possible intentions of people walking past my door.

It has been a quarter of a century since I called that house out in the country home. For the past eight years I’ve been in the Northeast, but that vast space of pine trees and hardwoods and fields where in the summertime the whippoorwills and bobwhites called all night still resonates deep inside me. Cedartown was a place where I knew just about everybody and everybody knew me and my parents, and if they were old enough, they knew my mother’s parents before (often that familiarity was a good thing; other times, when people were up in your business, not so much). I think about my home there all the time, the good and the bad. And I’ve never heard a band that takes me back to that place and captures that world, the vivid stories of small town southern lives, as the Drive-By Truckers do in their songs. These two divergent worlds of mine merged happily Thursday night, March 27, when DBT played Philadelphia, packing the spacious Fillmore at the TLA (formerly the Theatre of the Living Arts) on South Street and kicking out a great show of songs both old and new.

I could write a long string of fat sentences about how damn good the band sounded, how tight the guitars, smooth the keyboards and strong the drums, as well as the juxtaposition of Patterson’s high, slightly raspy voice and Mike Cooley’s deep tone, a voice that somehow manages to mix humor, lonesomeness and a little bit of threat into one sound. Shonna Tucker’s sweet voice often comes in and rounds it all out. They are a fantastic rock band with streaks of the best elements of country music; imagine if the Rolling Stones were from North Alabama and had a touch of Johnny Cash. But instead I want to focus on the stories in the songs, the great attention to detail and rhyme that bring these stories to life as much as any poem, fiction or movie. A lot of bands write songs that have lyrics that sound pretty and paint you an image or two—a DBT song, however, takes you somewhere, and you enjoy the ride. They know how to write a line, and they know how to tell a story as well as anyone recording today.

They opened the show Thursday with “Goode’s Field Road,” Hood’s song from the near the end of their new record, “Brighter than Creation’s Dark.” It’s a relentless rhythm in the voice of a man in serious trouble about to meet his maker in a murky deal that has gone bad, or more likely he’s planning to end his life to avoid going to prison, but the listener is never told exactly “what went down on Goode’s Field Road.”

Keeping in sequence from the album, they played “A Ghost to Most,” a Cooley specialty with one of his many unforgettable lines: “But skeletons ain’t got nowhere to put their money/nobody makes britches that size/and besides you’re a ghost to most before they notice/that you ever had a hair or a hide.” Literary critics could write long articles about this one and never quite decipher the ultimate meaning, concluding, if they are honest, that it’s cryptically fascinating, not to mention a little dark but also funny as hell. According to Hood’s liner notes on their web site, he overheard a friend ask Cooley what the song meant and he replied, “It's really hard for me to find a suit that fits me right." Ultimately, asking the band what some of their songs mean is like asking Cormac McCarthy to explain what happens to The Kid at the end of “Blood Meridian.”You got to come to your own conclusion.

Patterson followed with a new song that is getting a lot of airplay in Philly on WXPN-FM, the alternative station at the University of Pennsylvania where David Dye’s show World Café is hosted. “Righteous Path” is about a family man trying to stay on the straight and narrow in spite of all the temptations life presents. It’s a grown up rock’n’roll song. During this tune, of course, was when an overly-endowed young woman riding on the shoulders of an apparently very strong man chose to pull up her shirt and reveal her abundance to the band. If they noticed her, they didn’t act like they did. And she was hard to miss, bless her heart.

The new album which they are touring in support of is the first since the departure last year of Jason Isbell, the talented young songwriter, singer and guitarist who laid claim to a number of songs, including the brilliant “Outfit” and “Never Going to Change,” one song poignant and the other downright defiant. Isbell, who recorded with the band from the albums “Decoration Day” in 2003 through “A Blessing and a Curse” in 2006, was certainly no slouch. But most bands don’t have one songwriter on par with Hood, Cooley and Isbell, and I doubt any band has room for three for the long-term. It sounds unkind to Isbell to say I didn’t miss him because I greatly admire his work, but I didn’t miss him Thursday night. Hood and Cooley who have been playing together since the eighties have more than enough material to crank out long shows like they did, digging all the way back into the albums of the late nineties, “Pizza Deliverance” and, still my personal favorite, “Gangstabilly.”

While Isbell is gone, David Barbe continues to work with DBT, producing, engineering and mixing “Brighter than Creation’s Dark,” as well as playing on a few tracks. Barbe was at one time bass player for Bob Mould’s band Sugar, but for me he will always be the front man for Mercyland, my all-time favorite Athens, Georgia group. Mercyland is easily the most underappreciated rock trio of the last century.

DBT on Thursday played a long, strong opening set of about two hours—you always get more than your money’s worth—and returned after a quick break for their encore, kicking it off with what may be my favorite song, Cooley’s “Marry Me.” This song definitely has what I think is their best opening line: “Well, my daddy didn’t pull out, but he never apologized.” I once saw Maya Angelou on TV say that George Jones’ “He Stopped Loving Her Today” has more story than most writers can get into a 300-page novel, and the same sentiment goes for many DBT songs, especially this one. “Marry Me” manages to tell one man’s entire life from conception to his own pending unplanned fatherhood and conveys his perspective on the world in only five stanzas, including this declaration on his desire to stay in his hometown: “This old town’s all right with me, there’s nowhere I’d rather be.”

The encore concluded with Hood’s contrary “Buttholeville,” a song that shows while some folks love their humble hometowns and would never leave, others are dying to get away, are flat out “tired of living in Buttholeville.” Unlike the narrator in Cooley’s “Marry Me,” the dude in this song is one day going to put the town in his rearview mirror and is “never going back to Buttholeville.”

Thursday night’s show was the first time I’ve seen The Drive-By Truckers in my four years of following the band that they didn’t finish with Jim Carroll’s dark rocker “People Who Died,” but instead ended with a medley that wove a souped-up version of Bruce Springsteen’s haunting “State Trooper” embedded in the middle of “Buttholeville.” I thought DBT’s ending each show with Carroll’s song might be a tradition that would last like Willie Nelson’s thirty-year run of starting every concert with “Whiskey River,” but I guess not. It doesn’t matter. Like Springsteen whose repertoire is so intertwined with his home turf in New Jersey that for some it defines the state, DBT has carved out a marvelous body of work over the past ten years that paints a vast canvas of the hardships and joys of life in the modern, rural South. Covering Springsteen, who in my mind Hood and Cooley are up on par with at the highest level of songwriting, seems just right by me.

Buy Sam's 1st Novel "Calling" on Amazon, visit his website, and continue to support those who make Southern culture the envy of the rest of the world.

Popularity: 18% [?]

Buy Tift Merrit Music at


I first saw Tift Merritt, a North Carolina native, perform at the House of Blues in Cambridge, MA. She rocked her red guitar as much as she rocked her high heeled boots. A couple albums later she's back with Another Country. She has packed her spring schedule with dates all across North America to support the album, and show this country (and Canada) what she can do.

Another Country isn't just another country album. You will find it on itunes or at your favorite record shop (if you still go), with the rest of the country albums. Although, I'd rather call it easy going rock and roll with a twang, and a soul. Merritt balances gracefully between sweet and sincere vocals, and honest and heart-filled song writing. The lyrics are simple, but not dumbed down. The band is supportive, but not overbearing. A well balanced artist; a well balanced album.

A great third effort for Merritt. Check out this Joni Mitchell, and Emmylou Harris influenced artist on Itunes or anywhere you like to buy music. Also find out when she'll be rockin' near you at www.TiftMerritt.com

Popularity: 9% [?]

Review By Kellee Gooch

I got a chance to listen to Wilder Embry's Squander on a quick road trip this week. Right off the bat I was impressed. The first track, Rubber Band, has a contagious melodic hook, and a fun summer feel. By the second verse I couldn't wait to see what else Embry's Second album had in store. By track 4, Dyin' For Ya, I was sold. I even thought for a split second I was listening to Ryan Adams croon.

Embry has created an Alt- Country record with a great sound. He has also gathered up some real talent to back him up. That talent radiates all through the album. From the musicians to the production; nothing has been squandered in Squander. I say check it out.

Vist Wilder Embry's Website For More Info

Popularity: 9% [?]

Click Play To Hear Self Destructive Zones - More songs below

DBT’s latest epic work, Brighter Than Creation’s Dark, is sure to become an instant classic among die-hard Trucker fans. Drive By Truckers continues to give a voice to small town middle America as they have done with their previous albums.

Despite the departure of guitarist and songwriter Jason Isbell, the Truckers haven’t missed a step. In fact, they have presented a few surprises that could give them new legs for follow up albums.

The first surprise is Shonna Tucker’s singing and song-writing debut that fits well with her counterparts and the “Trucker sound”, such as "Home Field Advantage". I can’t help asking myself why these talents haven’t been utilized before.

The second is the contribution and the diversity of songs written and sung by the “Stroker Ace”, Mike Cooley. The quality is not surprising. Cooley is at his best with a string of songs that are without a doubt “classic Cooley” such as "3 Dimes Down", "Self Destructive Zones", and "Ghost to Most". Cooley also adds a couple of songs with a country twist that are reminiscent of DBT’s second album Pizza Deliverance. Songs like "Bob" and "Lisa’s Birthday" make most contemporary country singers sound like city-slicker, cowboy wanna-be’s.

Front man, Patterson Hood continues to translate the common American man’s worries, despairs, happiness, and duty in such songs as "The Righteous Path" and "Daddy Needs A Drink". Hood’s lyrics seem to mature with every album in sincerity and seriousness; this is no more prevalent than the songs "The Man I Shot", "The Home Front", and "You And Your Crystal Meth" which touch on current topics such as the occupation in Iraq and the ravages of crystal meth on small town USA.

Drive By Truckers fans will find a gem in Brighter Than Creation’s Dark.

The Georgia Jukebox is your home of Drive By Truckers music on internet radio

Click Play To "Bob"

Click Play To Hear "Home Field Advantage"

Click Play To Hear "The Man I Shot"

Popularity: 13% [?]

NEW!!

We're very proud to be among the very few to offer a special promotion for ZBB and GAJukebox Fans. Buy Zac Brown Foundation Right Now! We've been waiting for this, and it looks like its finally here!!

You can Now Order Zac Brown Foundation, and get the download instantly!

Click Here to Pre-Order Foundation and get the download instantly

*****Breaking News: Re Release Of Foundation On August 28th. "Chicken Fried" available soon on iTunes.

We'll Let You Know

1. enter your email and we'll send you a direct link to buy ZBB Music as soon as its available for purchase
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Click The Play Button To Hear Zac Brown Band "Chicken Fried"

Buy Zac Brown Music Soon!!

This was originally published on December 22nd 2007, right after we switched over to a blog format. We've been huge fans of The Zac Brown band for years, and his "Chicken Fried" was part of the original rotation on the online station.

If you saw Zac Brown walking down the street, you'd never think he was a rock star. If you're in one of the many venues he plays, you'll know that he is just that. His Latest effort, "The Foundation" showcases the young artist's brilliant song-writing, a smooth-voice and personality as big as the club he's playing, and this Cumming Georgia native is gathering a loyal following all throughout the south. And its growing every time someone hears his music; in person, on CD or on the internet.

Zac Brown - Is He Country or "Chicken Fried" Ragge?

The Georgia Jukebox is all about breaking down genre barriers. With The Zac Brown band, there don't seem to be any. Listen to a couple of Zac Brown Band songs, and you'll hear country, southern rock, and even reggae influence and undertones. He calls it "Lake Music". Whether is Alt-Country or Americana, or mainstream country music; who knows. We just think its good music.

Whats Next For The Zac Brown Band?

We're sure nothing great things are in store for Zac Brown and his boys. He's already appeared several times on the Rick and Bubba Show, he's headlining a New Years Eve show at The Biltmore in Atlanta. He's spending most of January touring the Southeast, and will be a featured artist on The Rock Boat sailing January 19th - 24th.

We know this is just the beginning for Zac Brown and his band. We'll keep you up to date with Zac Brown news, and will keep a healthy dose of his music on our station at all times.

Congratulations to Zac Brown and the band for the success that is, I'm sure, only beginning.

Popularity: 65% [?]

We were excited to see the review of Drive By Trucker's new release, "Brighter Than Creation's Dark" and it was a very good review indeed. The new CD is out in just a few days, and since , we'll have a link to buy the mp3 from Amazon (you can pre-order it now there) and iTunes (where you can already download the 4 song EP. Read a snipped below:

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"Prospects were poor for what turns out to be an overflowing song bag of an album by Lynyrd Skynyrd's arty nephews. Their last winner was 2004's The Dirty South, preceded by two others in close succession but followed by the disoriented A Blessing and a Curse and then the loss of tenor-songwriter Jason Isbell."..[Read The Full Review @ Rolling Stone]

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