Colton James “Date With Dixie”

“I do it for the love of my family, for the love of my friends, for the love of my country, but mostly for the love of God. Without God, I wouldn’t be here.”

If this doesn’t sum up the roots of a down-to-earth country boy like Colton James, nothing will.

Colton’s country roots run deep, and were developed at a young age. What started as a truck ride to the fishing hole became a lifestyle. In the front seat of his father’s truck, Colton was treated to legends like George Jones, Keith Whitley, George Strait, and Merle Haggard. Both of his grandmothers played piano and organ, and his singing pipes come from his mother. “She has a beautiful voice and always sang with happiness, heart, and sincerity in church,” Colton recalls.

Over the years, Colton has perfected his songwriting and guitar playing skills resulting in opening for Toby Keith, Mark Chestnut, Chris Cagle, Joe Nichols, the Dixie Chicks, Lonestar, Keith Anderson, and Trick Pony. His most memorable performance was when he opened for Jason Aldean at Little Creek Amphibious Base, because it was here that 16,000 fans heard him play “Brave Men,” a powerful tribute to American troops. Colton’s moving lyrics earned him a standing ovation that night. “These men and women do something incredible for us. They deserve being recognized for the sacrifice they make and this is my small way of letting them know how much we appreciate them.”

Colton’s passion to help his country and community doesn’t stop with the military. He also shows his support for families, and victims battling cancer. Colton was given a flyer for a benefit put on by Kelly McCann, the manager of Towne Bank, for a local resident named Diane Stokle who was battling breast cancer. After hearing her story Colton put himself in her family’s shoes and imagined what he would do if it was his wife, mother, grandmother, or children battling the disease. Being the family man and husband he is, Colton, “felt compelled to do something about it.” Colton sat down with renowned songwriter and founder of NSAI (Nashville Songwriters Association International) and within an hour wrote “What Keeps Her Strong.” Colton says, “It was a gift from God that I awakened that night with the idea of ‘What Keeps Her Strong.’” Colton had the opportunity to sing the song to Diane before she passed away in May 2009. He remembers her smiling and not letting her battle keep her from living life to the fullest. Colton has been blessed with the opportunity to sing “What Keeps Her Strong” during The Race for the Cure, and for the Susan G. Komen Foundation.

Colton is currently working with producer Steve Sturm (best known for working with Travis Tritt for 12 years) on his new album that will feature “Brave Men” and “What Keeps Her Strong.” His motto of “101 Proof Country,” is reflected in his country roots, strong sense of family, and his infectious ability to make everyone around him have a good time.

Marlee Scott “Train Wreck” Dance Remix

As a teenager, Bigride Entertainment artist Marlee Scott knew she was born to be a singer. The only problem, she would discover, was that young Marlee was expecting to fulfill that destiny before she was even old enough to drive!

“I remember always wanting to be a singer,” says Marlee. “When I was fourteen years old, every night before I went to bed I would tell myself that I would be a recording artist by the time I turned fifteen. It didn’t happen quite that fast, though!” she laughs.

Born in Richmond Hill, Ontario, the Scott family moved to St. Albert, Alberta, when Marlee was only six years old. It quickly became evident which direction her musical career would take.

“Marlee’s mom had called to schedule flute lessons for her,” remembers one of Marlee’s childhood music teachers. “When it came time for her first lesson I asked her, ‘So, you want to play the flute?’ She smiled at me and pointed to a pink electric guitar that I had in the corner and said, ‘No, I want to play that.’”

Marlee spent her childhood and early teenage years learning guitar and taking vocal lessons, but it turns out that it was a chance car ride with some of her friends that led her back to her affection for Country music.

“Country music has always been a part of me,” Marlee says, “but around the time I was sixteen, I was listening to a lot of Pop music on the radio. I remember riding around in the car with my friends one day, and a song we didn’t like came on the Pop station, so we switched it over to the Country station. Alabama’s ‘Mountain Music’ was playing. We liked the groove, so we left the radio tuned to Country. I guess we just never changed it back!”

Alabama may have brought the teenager back to her roots, but it was songs like Rascal Flatts’ “Prayin’ for Daylight” and Emerson Drive’s “I Should Be Sleeping” that pushed Marlee to try her hand at writing Country material. So, while most of her friends were participating in school activities, Marlee devoted all of her free time to riding her horse, Sidra, and to writing and recording her music.

Marlee’s first album, Souvenir, was released in Canada in 2005. It introduced the young singer to the Country music masses, but more importantly, it generated enough buzz to showcase her songs at various festivals and fairs around the country, garnering invaluable performance experience for the rising artist.

Before recording her follow-up effort, however, Scott moved to Nashville in the summer of 2007. She spent months writing material for the project, which eventually caught the attention of veteran industry executive Gerry Leiske. Leiske was intrigued by Scott’s natural ability as a singer and songwriter, and in 2008 he signed her to a management deal. Under Leiske’s guidance, Marlee released her self-titled sophomore album, establishing a solid foundation for her developing career in the States.

“By the time I recorded my second album, I had grown up a lot,” Marlee reveals. “I had experienced love and heartbreak; I moved to Nashville, away from my family and friends and made a new life for myself in Music City. I was so much more comfortable in the studio at that point, and I think you could hear a new maturity in my music.”

The resulting album earned Marlee a coveted nomination in the Rising Star Award category at the 2010 Canadian Country Music Awards, as well as a 2010 nomination at the Canadian Radio Music Awards. Not one to stand idly by, Marlee capitalized on the momentum of her critically-acclaimed sophomore effort and quickly released the international hit, “Here To Heaven.” The track went Top 20 in Australia and Canada and shot to the top of the charts in Europe. Within months, plans for her first U.S. release began to take shape, bolstered by her new label deal with Leiske’s BigRide Records.

“One of the highlights of my career so far has been signing with Bigride,” Marlee says. “The entire team is behind me and that is such an amazing feeling. I feel like they have invested their time and energy into helping me develop as an artist, and we are all extremely excited about this new project for 2011.”

Produced by David Kalmusky and penned by accomplished songwriter Marcus Hummon, the album’s first single is the shimmering “Beautiful Maybe,” an up-tempo gem with a positive spirit and message that fittingly reflects Marlee’s personality. With “Beautiful Maybe” due out this summer, and the album set for release later this year, Marlee is ready to hit the highways with her new songs.

“I cannot wait to get out on the road and start playing my music for everyone!” she says, beaming. “There are parts of the U.S. that I’ve never been before, and I’m getting ready for my first official radio tour down here. I am so pumped to meet everyone at Country radio!”

Growing up in the community of St. Albert, Alberta, the down-home, small town spirit is alive and well in Marlee Scott. Her fun-loving demeanor, coupled with her accomplished skills as a musician, songwriter and vocalist, have prepared the rising star for a long career in the States… and beyond.

“It’s the storytelling and honesty of Country music that I was always drawn to,” Marlee says. “I hope people hear and identify with that on this album. Lyrically, these songs represent who I am more accurately than anything I’ve ever written before.”

The JaneDear Girls “Merry Go Round”

There may be no better place to start, when talking about the JaneDear girls, than with the description offered by their producer, John Rich.

“They are,” he says, “the girls next door that kick country A**,,,”

Their name offers another level of insight.

“We wanted something that was feminine, All-American, and country,” says Danelle Leverett, the Lone Star portion of this Texas-Utah duo. Susie Brown, adds, “It took us a while to find a name that really described who we are and what we want to say to our country audience, and the JaneDear girls does just that.”

All of that is embodied in the JaneDear girls’ debut single, “Wildflower,” as perfect an introduction to their high energy, soaring harmonies, and world-class instrumental prowess as a country fan could ask for. It’s also a song whose very roots express the organic unity of the approach Susie and Danelle take to life and music.

“I have a vintage electric Mandocaster which is essentially a solid body electric mandolin that I found in a little guitar shop in Salt Lake City, Utah,” says Susie, “and I bought an amp, plugged it in at a co-writing session and ‘Wildflower’ popped out. I had a wildflower in my hair that day, and that’s where we got the title.”

“We have an amazing band,” adds Danelle, “and once they laid it down and we added our vocals and Susie’s electric mandolin and fiddle instrumentation, it was pretty much a no-brainer that it would be our first single.”

Danelle and Susie were each pursuing careers when a friend suggested Danelle see Susie perform at a Nashville club. Before long, the two tried writing together, and from the moment they finished their first song together, they knew that they were a duo. While they struggled–”We would eat $10 worth of taco soup for a week, every meal,” says Danelle–they quickly began impressing industry people. After they performed at a Muzik Mafia event, John Rich became a huge supporter, helping them ink deals with Warner Music Nashville (under the guidance of Scott Hendricks), Sony/ATV Tree Music Publishing and Turner Nichols & Associates Management firm.

Susie was one of seven children in an extraordinarily musical family. She was playing violin at four and winning her age group in the Utah State Fiddle Contest at 10. She honed her skills as a vocalist and instrumentalist in her family’s band and in high school musical events. After moving to Nashville she landed slots as a backup singer and instrumentalist for several artists including Trisha Yearwood.

What music was to Susie’s family, sports were to Danelle’s. A highly competitive gymnast, she pursued athletic competition until high school, when downtime due to a pole vaulting injury led her to guitar playing and songwriting. She won a regional songwriting competition, and while in college, signed an independent label deal. After graduation, she moved to Nashville, where a widening circle of friends and supporters led her to Susie.
Polished entertainers, Susie and Danelle have differing fashion outlooks but a unified approach to the music.

“We’ve always told John, ‘We want to rock,’” says Susie. Not missing a beat, Danelle adds, “We like our guitars loud, our fiddles ripping and a steady beat that makes people want to dance!”

It’s a formula for excitement that makes the JaneDear girls one of the most exciting new acts in the world of country music.

Singer-songwriter Kip Moore combines a raw and rustic voice with compelling lyrics of honesty to create a unique sound that’s simultaneously hypnotic and edgy. His voice is weathered by life’s detours and disappointments and strengthened by his dreams and determination. His music is infused with relentless intensity, both of passion and frustration.

The boy who grew up daydreaming about life outside of the small town of Tifton, Ga., became a man who has been continually inspired by Bruce Springsteen and Kris Kristofferson to paint vivid portraits with his lyrics.

“I am not drawn to the fairytale kind of love,” says Kip, who had a hand in writing every song on his debut album. “I am drawn to the real-life experiences between a woman and a man. I try to sing about the way it is, but yet at the same time, what you can hope for between a couple. I don’t intend to paint of picture of what it’s really not.”

His music powerfully captures some of the contradictions that he grapples with personally. Although he’s from a large family and enjoys musical collaborations and performing onstage, he’s an introvert who is often more comfortable being alone. “There’s a combativeness to the music too, a fight within,” he says. “With ‘Faith When I Fall,’ I know how bad I need that spiritual realm, but yet I find myself on this other end a lot of times.”

Despite its edge, his music remains desperately optimistic. “I am hoping for what I have yet to become,” he says. “I feel like it’s hopeful for what I’ve yet reached, how I look forward to feeling, but I haven’t gotten there yet.

“I have truly lived my music to a sense, even the milestones I haven’t reached yet,” he says. “I have been in those moments. I’ve been at those crossroads with a girl: ‘Are we going to take that next step?’ I look forward to taking that next step, but I haven’t wanted to yet. I look forward to being ready for that.”

He was born in Tifton, near the Florida line, and was one of six children, the youngest boy who had three younger sisters. “You had to make your own fun, for sure,” he says of Tifton. “I had a lot of time for daydreaming. It was a great town, but I dreamed about getting out. I do enjoy going back now.”

His father was a golf pro and his mother was a painter who used anything handy for a canvas, whether it was cake plates or baby crates. She also taught piano and played the church organ. “I can remember sleeping in the pews,” he recalls. “She would bring us blankets and give us a coloring book and we’d sit there while she played.”

Weekends were often spent driving to the beach with his father for fishing expeditions. “He would play a lot of Jackson Browne, Willie Nelson, Bob Seger, Tom Petty and Bruce Springsteen,” he says. “As early as I can remember, I always gravitated toward lyrics. Even when I hadn’t lived enough to understand then, they still shaped me. “

During high school, he secretly began playing his brother’s guitar because he was intimidated by the talent of his mother and older brother. “I would play when nobody was around, just figuring out stuff, watching his hands and trying to do the same thing.”

He played point guard for Wallace State’s basketball team and also played on its golf team in Hanceville, Ala., for two years and then transferred to Valdolsta State University on a golf scholarship. He wrote songs daily and joined a band that performed throughout the South, providing him with all of his income. “I was one of those kinds who didn’t know what I wanted to do with my life,” he says. “I didn’t know music was an option. Maybe it was one of those things where I didn’t quite believe in myself enough.”

Although he devoted every free moment to music during college, his parents still didn’t know about his musical activities. “They were all shocked when they found out about it because they didn’t know I could sing or play,” he says.

After graduation and a short stint as a bartender on St. Simon’s Island, he moved to Hawaii on a whim with just a backpack, a surfboard and a friend. They slept on an airport bench the first night and then lucked into a hut that was $50 a month. They would walk or hitchhike the mile to the beach daily. After six months of this tropical paradise, Kip thought he had found his permanent home until his friend encouraged him to pursue songwriting as a living.

“I didn’t know a whole lot about the world of songwriting,” he says. “I just did it for my own enjoyment. We talked about Nashville and I ended up saying, ‘I’m going to give it a shot.’ I flew back home and told my folks. They thought I was crazy. Now they’ll say different, that they knew all along.”

He drove to Nashville on Jan. 1, 2004 in an old black Nissan truck that contained one bag and his guitar. He immersed himself in the songwriting community, observing songwriters’ rounds for two years and honing his craft before gaining the confidence to join in. After four years of performing locally, he caught the attention of Creative Artist Agency’s Mark Dennis, who called Universal Music Group Nashville’s Joe Fisher. Not only did Joe’s encounter lead to his record deal with MCA Nashville, but it also brought about his introduction to songwriter Brett James, who produced Kip’s debut album.

“Brett gave me the freedom to find who I was as an artist, the freedom for writing a different kind of thing, a different kind of melody and lyric,” he says. “He gave me room to grow.”

He also found important relationships with songwriters Dan Couch, Scott Steppakoff, Westin Davis and Kiefer Thompson, two of whom didn’t have publishing deals when he began writing with them. “There was definitely a special thing when we got in the room together,” Kip says. “I got offers to write with a lot of the bigger guns in town, but I enjoyed what I was doing with them. They were open to my ideas of being different.”

And different his debut project is, as evidenced by the album’s first single, “Mary Was the Marrying Kind,” the story of the one who got away. The dreamy and spell-binding song is the true story of one of Kip’s friends, who returned to his hometown after about six years and saw the once tall, lanky girl who had since come into her own and become a model.

“It’s the story of what every man in this world goes through at some point,” he says. “It’s the story of the one that got away that you should have paid attention to. Every town, every city, everybody knows one. Every girl believes they are Mary.”

The anthemic “Drive Me Crazy” is the story of two troubled teens who find a safe harbor in each other, if only for a few fleeting moments. “They are the getaway car for each other from everyday life,” he says. “When they’re together, what they live in is in the rear-view mirror and it’s just one big infatuation love story that lasts for a very short time.

With its irresistible bass line and drums, “Up All Night” is about continuing to live life to its fullest. “’Up All Night’ is the story of not wanting to give into your age and how life is supposed to be lived once you reach a certain age,” he says.

When Kip plays shows, he’s often asked for advice by aspiring songwriters. “Everybody’s experience is different, but I do believe it has to be the only thing,” he says. “I don’t think it can be a gray line. Either you want it and there’s nothing else or it’s not going to happen.”

For instance, Kip was offered a sales position with an enticing salary, but it required working six days a week, leaving no time for creating music. “You come to the crossroads: do you really want this? Are you willing to sacrifice everything, including relationships? I can’t tell you how many relationships have been doomed from the get-go because of this.

“It only took me a few minutes to decline it. It’s such a risk and it’s an alone feeling – you feel like you’re on an island by yourself – but it’s worth every single minute. Had I taken that job, I wouldn’t be sitting here today.”

Chris Cagle was born on Nov. 10, 1968, in DeRidder, La. When he was 4, his family moved to the outskirts of Houston. The son of an Exxon supervisor, Cagle began guitar lessons at age 6 but gave up after a year because it was too difficult for his tiny hands to master the large classical guitar. He took piano lessons throughout high school and began playing guitar again after receiving an Ovation acoustic guitar for Christmas during his senior year. The first song he learned to play was Lynyrd Skynyrd’s “Free Bird.”

Cagle enrolled in the University of Texas-Arlington but soon found himself skipping his finance courses to audit music classes. His nights were spent performing in Texas clubs. At 19, he realized he was wasting his time at school and left Texas to pursue music full time. He moved to Nashville in 1994, spending the next five years performing odd jobs — from waiting tables and tending bar to being a golf caddy — all the while polishing his songwriting skills. His writing vastly improved after meeting legendary writer Harlan Howard, who taught Chris how to write a true country song. Howard was so impressed with his student’s efforts that he was the first to publish one of Cagle’s songs.

A few years later, Cagle met Donna Duarte at a restaurant where he was working. She was really interested in music, so he invited her to come to the studio to hear him record some demos. Duarte heard it and loved it and took it to her boss. Unbeknownst to Cagle, she was the assistant to Scott Hendricks, president of Virgin Records Nashville. She played it for Hendricks and Cagle soon landed a record deal.

When Virgin closed its country division, Cagle was absorbed onto the Capitol Nashville roster, home to Garth Brooks, an obvious inspiration. Capitol re-released his 2001 debut album, Play It Loud, with two new songs, including the future No. 1, “I Breathe In, I Breathe Out.” A self-titled sophomore effort followed in 2003. He released Anywhere But Here in 2006.

The voice is straight-forward and powerful. The songs are down-to-earth portraits of real people from the American heartland. The sound is traditional, unapologetic country.

Craig Campbell is a proud reminder of one of country’s strongest creative periods, building on the early-‘90s legacy established by some of the genre’s most successful figures: Garth Brooks, Alan Jackson, Clint Black and Travis Tritt.

The Georgia-bred Campbell was introduced with a five-song EP that landed in the Top 20 on iTunes. His self-titled debut album expands on the central themes of his life—family, friends, purpose and self-determination—with a bundle of self-written songs, all delivered with the force and conviction of someone who’s lived every sentiment in every word.”I have to believe every one of my songs,” Campbell says matter-of-factly.

It’s a simple premise learned through years of touring at the club level, writing songs in Nashville and playing the bars on Lower Broadway in Music City. Campbell honed his craft in bands backing Luke Bryan and Tracy Byrd, on stages where he covered Alabama and Lynyrd Skynyrd, and at an annual hometown talent contest where he won twice and eventually became the leader of the house band for other contestants.

Campbell’s abilities stood out, as Nashville decision-makers discovered. In fact, he became the subject of a moderate competition. He received an offer from one of Nashville’s major labels, but he was more intrigued by interest from songwriter-producer Keith Stegall—known for his work with Alan Jackson and Zac Brown Band. Introduced to Stegall through radio promotion executive Michael Powers, Campbell turned down the other offer to wait while Stegall and several other industry veterans developed Bigger Picture Group, an innovative artist-development company.

Biography
“When you think of country music, New York City probably doesn’t come to mind. But the big apple always had a great country music scene and HER & Kings County are living proof. Their potent blend of NYC attitude and southern rock has made them a NYC must see. As you already know, they’re ready for the big time.” – CMT

Country/Rock
Members
Monique Staffile – Lead Vocals, Acoustic Guitar,
Caleb Sherman – Guitar, Pedal Steel, Banjo, Dobro, Lap Steel and Bg Vocals
Justin Sherman – Rhythm Guitar and Bg Vocals
A Wonder – Lead Guitar
Brother Love – Drums, BG Vocals
Frank Gagliardi – Bass Guitar, and Bg Vocals
Hometown
Brooklyn, NY
Record Label
WMG Warner Bros./ Elektra

A great man once said, “Rock and Roll will never die.” In the hands of the band…See More
General Manager
Average Joes ent. (Lex Lipsitz) Lex@Averagejoesent.com
Booking Agent
Creative Artists Agency – http://caatouring.com/
Press Contact
Jensen.Arrowsmith@wmg.com, Lex@Averagejoesent.com
Artists We Also Like
AC/DC, Kid Rock, Little Big Town
Website
http://www.HERandKingsCounty.com

Buddy Jewell – “I Surrender All”

“For I have learned to be content in whatever the circumstances. I know what it is to have plenty. I have learned the secret of being content in any and every situation.” – Philippians 4:11-12

“I Surrender All,” the fourth self-produced album by singer / songwriter Buddy Jewell, grew from a simple request. It was with affection and maternal pride that Mama Jewell asked her son to record some of her favorite gospel songs.

“My mother Eva had asked me on several occasions to record a few gospel songs for her,” says Jewell. “Over the years, several friends and fans have suggested that I do so as well. So, in November of 2010, I began the process of putting this record together. It’s a collection of spiritual songs, some from the past, some from the present, and all from my heart.”

The album’s title cut, ”I Surrender All,” is a beautifully produced modern version of an historic hymn by composer and evangelist Judson W. Van DeVenter. Its message of hope and faith is still as relevant today as when it was originally written over a century ago.

“I chose to include ‘I Surrender All’ partly because of the truth and simplicity of its message, “ affirms Buddy. “Unfortunately, we live in a world that’s in turmoil much of the time. People need faith and to trust in God more than ever before.”

Jewell witnessed some of that turmoil firsthand when he traveled to Kuwait, Iraq and Afghanistan in December 2010. Joining forces with the USO, Buddy visited with and performed for military troops, returning home with a greater appreciation for U.S. fighting forces around the globe. It is to these amazing men and women, who preserve and protect the nation’s liberties and freedom, that Buddy dedicates this record.

Turning to God for strength in times of struggle and adversity is an underlying theme throughout the album. “You’ll Find Your Way,” written by Neil Cody, is an uplifting tribute to the healing power of faith. Doubt, fear and darkness are powerful forces, but God’s love is stronger.

“’Don’t lose faith, you’ll find your way,’ is one of my favorite lyrics on the record,” says Jewell. “Throughout my career and my life I’ve trusted in the Lord to guide me down the right paths. I ask Jesus for His blessings in everything I do. If He is with me, I know I can face whatever comes my way. “

Buddy quickly rose to fame in 2003 as the first winner of USA Network’s “Nashville Star.” Having hit songs like “Help Pour Out the Rain (Lacey’s Song)” and “Sweet Southern Comfort,” and achieving gold status on his debut album by selling over five hundred thousand copies, haven’t changed this Arkansas-native’s priorities in his day-to-day life. Second only to his relationship with God is his family. Jewell’s roles as devoted husband to Tene and proud father to three beautiful children (Buddy III, Lacey and Joshua) are the subject of the autobiographical “When I’m Good and Gone.” Written with good friend Leslie Satcher, this ballad (with heartfelt sincerity) reflects on the hopes and dreams of a dedicated husband and father.

Blessed with three healthy children of his own, Jewell has recently partnered with Compassion International to aid impoverished children around the world. For over 50 years, Compassion has been dedicated to releasing children from spiritual, economic, social and physical poverty. Buddy traveled with Compassion in 2010 to Guatemala, to not only help in the much-needed physical aid of the children there (food, shelter and health care), but also to bring public awareness to the important role faith can lead in the crisis of poverty. Today, Compassion International helps more than 1.2 million children in 26 countries.

Says Jewell, “The Book of John states, that ‘ye love one another, even as I have loved you.’ Giving back is a true blessing. Together we can bring about change in the world. These impoverished children are innocent. With a little faith, kindness and, yes, music, we can make a big difference in their world. I can say that they’ve certainly made a difference in mine.”

Any Buddy Jewell project wouldn’t be complete without a few rockin’ uptempos. And “I Surrender All” is no exception. “Jesus, Elvis and Me,” (the latest single released to both Christian and country radio) is the perfect addition. Written by Chris Stapleton and Tim James, this honky-tonk flavored, hip-swinging, lip curling love song is guaranteed to put a smile on your face with its addictive beat and hooky lyrics. Likewise for “Hell Bent and Heaven Bound,” a bluesy toe-tapping story song with smokin’ fiddle and rockin’ guitars, a tune that Buddy penned with James Payne.

“Recording this album almost felt like a homecoming for me,” says Jewell. “These songs are familiar and comfortable. Somehow going back to my roots, to the messages and scriptures that have made me who I am, is opening doors and windows I never imagined possible. What was meant as a gift for my mother has truly turned into a blessing for me.”

Case in point is the album’s lead off single, “Somebody Who Would Die For You.” Written by songwriting heavyweights Mark Narmore and Adam Wheeler, its powerful lyric and emotional delivery hit a major chord with Christian radio listeners nationwide. The song reached #1 on the Christian radio charts in April 2010, and earned Jewell the distinguished titles of Crossover Artist of the Year and Entertainer of the Year at the 55th International Country Gospel Awards in August 2011.

As a diverse and charismatic performer, Jewell has grown an extensive fan base which extends well beyond the country and gospel genres. From children to NFL players, Buddy appeals to music fans of all ages, from all walks of life. His music video “Reason to Read” (with Patty Loveless) has become one of the most popular music videos ever to appear on “Between the Lions,” PBS’s award-winning literacy education series for children. When Falcons’ safety #25, William Moore, was asked in a recent interview what his hobbies were, he said, “hip hop, country music and a little Buddy Jewell.”

“’I Surrender All’ marks a new chapter in my career,” says Buddy. “I look forward to the road ahead. For me, ‘surrender’ has come to mean trusting fully that God is in control of every situation, every thing in my life. And through this trust I can find peace and contentment.”

THE DIRT DRIFTERS WEBSITE
They met in Nashville, five musicians from four states with backgrounds from across the spectrum and a hunger to make music that matters. Their growing suspicion that they had something special was confirmed over and over as they took to the road. Fans in one club after another reacted as they always do in the presence of the real thing, and The Dirt Drifters began attracting a rabid and loyal following.

By name and position they are lead singer/guitarist Matt Fleener, vocalist/guitarist Ryan Fleener, guitarist/vocalist Jeff Middleton, bassist Jeremy Little and drummer Nick Diamond. They bring resumes that embrace country, rock, funk and R&B to bear on a gritty, lyrical roadhouse country that offers something substantial to the heart, the mind and the dance floor. One of the best summations of their appeal came from the last member to join the group. Bass player Jeremy Little saw the others live and, he says, “I was floored. I knew this was where I belonged musically. It was fun. It was entertaining. I thought Matt was one of the most charismatic people I’d ever seen onstage. It was everything about music I wanted to be a part of.”

Road-tested, club-polished, they signed to Warner Bros. Records. Their challenge, they knew, was to capture the night-after-night magic they produce on the road in the studio. Working with producer Justin Niebank, the phenomenal musical talent known for his work with Vince Gill, Brad Paisley and Keith Urban, among others, they have done just that. This Is My Blood wears like a badge of honor the dust and grit of the long road the band has traveled. From beginning to end, it weaves compelling stories from life’s good and bad—stories all the more riveting for their truth.

“Everything on the record is our life,” says Matt. “Not only are we playing all the music on the album and writing the songs, we’ve lived them.”

For a band whose sound was forged on a thousand club stages, playing on the record was a prerequisite.

“Too many times,” says Nick, “the playing on a record is perfect but you don’t get the raw energy that goes with a live sound. We’re a band, and we knew we could bring that energy to every note.”

“Justin told us, ‘If you guys aren’t playing on the record, I don’t want to be a part of it,’” adds Matt. “Everybody knows how good he is at his job, but that speaks everything about him as a person and why he was so right for this project.”

“This wouldn’t be the record it is without Justin and the way he brought out the best in us,” says Jeff.

The result is that place where real life and real music meet head-on. This Is My Blood has Stones-level rocking on songs like “Something Better,” blue-collar poetry in “Name On My Shirt,” story-telling magic in “Married Men And Motel Rooms,” and lump-in-the-throat honesty in “This Is My Blood.” To top it off, there’s the pure adrenaline rush of “I’ll Shut Up Now,” which features a guest appearance from none other than musical icon Willie Nelson.

This is a record that is loud and raucous when it wants to be, soft and reflective when it needs to be, and filled with intelligence and insight throughout. The only real problem the quintet faced was choosing the final song line-up.

“We had nineteen songs,” says Ryan, “and had to narrow it down to eleven. Jeff made index cards and we hashed it out. It was a tough process, but we’re all really happy with the way it turned out.”

The result is top-shelf honky-tonk music, bringing vintage sounds and sensibilities up to date in a country landscape hungry to reconnect with its roots.

“We’re a country band,” says Jeff, “and I think that comes from the songwriting. We’ve all lived out the lyrics of these songs, struggling from paycheck to paycheck. I think that’s one of the main reasons audiences connect with this music.”

That connection, forged in their earliest days as a band, grew out of their backgrounds.

Brothers Matt and Ryan Fleener grew up in Oklahoma, the sons of a musically inclined mechanic and a schoolteacher. They moved to Nashville to pursue music themselves and after five years of dues-paying and wall-hitting as songwriters and as a duo, they met up with the musicians who would form The Dirt Drifters.

Jersey rocker Jeff Middleton headed to Nashville after being inspired by Garth Brooks to become a songwriter and musician, turning his back on the security of the business world to pursue a dream. Louisiana-born Nick Diamond was brought up in his preacher father’s church playing multiple instruments. He settled on drums and, ironically enough, met the core of his future honky-tonk band mates at church. Jeremy Little cut his teeth in rock bands in Chattanooga, then moved to Nashville after graduation. His sound brought the finishing touches to the Drifters’ musical brotherhood.

The band’s blue-collar ethos remains firmly in place.

“We’re a working band,” says Nick. “On the day of our digital album release, we were in the studio, laying down demos. It was a full-circle moment. That’s where we’re most at home—in the studio or on a stage.”

Fortunately for fans, the sound they’ve forged through the years has made it intact to the CD.

“When people push play,” says Matt, “they get The Dirt Drifters, guys who’ve traveled down the highway together. It’s our stories, our lives.”

“At the end of the day” adds Jeff, “we wanted to make a record we were proud of. And we’re really proud of this record.”