2021

Randy Lee Riviere

Review: Wyoming – Randy Lee Riviere

Randy Lee Riviere Wyoming Wilderness Records Randy Lee Riviere captures the sound of the American mid-west on his latest record Wyoming. Stepping out from behind the stage name Mad Buffalo for the first time, Riviere delivers a record packed with lyrics that paint a vast landscape within the listeners mind. On the song My Town Riviere’s voice wavers slightly as he passionately defends the things that are important to him, protecting his town from encroaching development ‘Why tear it down? This old town just got run down’ he belts. Meanwhile, on Fences, his raw, earthy vocals speak of family traditions and working hard for the land while the soft percussion arrangement keeps the ballad moving along. There is a good balance of up-tempo, foot-tappingly good songs and nonchalant ballads all performed by an exceptional band comprised of Kenneth Blevins, James Pennebaker and David Santos. A stand out track for me is Eighth Wonder which hones in on a beautiful fiddle counter-melody whilst the lyrics have a delicate beauty to their subject matter. Though producer Kevin McKendree, allows the instrumentalists to shine, the backing doesn’t over power Randy’s tentative vocals which are often packed with emotion. The album concludes with the title track which is an instrumental, this really allows the musicians to showcase their calibre. Overall this 13-track collection has allowed Randy to dig deep into his consciousness and hone in on topics that are close to his heart. He has shied away from the stereotypical themes and delivered an authentic and unique work of art that not only speaks his truth but delivers a thought-provoking message to the world about preservation and conservation. Randy Lee Riviere is at his very best on ‘Wyoming’ as an artist, songwriter and activist. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Janet Simpson

Review: Safe Distance – Janet Simpson

Janet Simpson Safe Distance Cornelius Chapel Music This is the first time that Birmingham, Alabama born Janet Simpson has widely-released an album under her own name, being better known for fronting the band Timber with Will Stewart who contributes guitars and vocals. Much of the album has a raucous feel, from the swaggering Nashville Girls to a rocking Reno. Friend Jody Nelson makes an appearance on the great country rocker I’m Wrong. The further the album progresses, the more Simpson slips into a sleepy, sultry mood with Black Turns Blue and Awe and Wonder before things come to a finale with Wrecked, a classic country ballad. The album takes Simpson on a journey from Nashville to Reno (well, almost) and has spawned 12 great self-penned numbers. After a career spanning over 20 years, one wonders why she’s not released a solo album in the past. The song writing is of the highest quality and her vocal delivery is first class. A multi-instrumentalist, Simpson has appeared with several bands and has toured the US and Europe and whilst her debut solo effort has been a long time coming, the wait was well worth it. By John Roffey To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Ray Cooper

Review: Land Of Heroes – Ray Cooper

Ray Cooper Land of Heroes Westpark Music Ray Cooper highlights the beauty of the cello in Land of Heroes whilst paying homage to his inspirations and shining a spotlight on his ability as a multi-instrumentalist. Cooper is credited with singing and playing all the instruments on his fourth studio album since pursuing a solo career away from the Oysterband. His blend of traditional instrumentation and modern techniques is at the core of this album, a juxtaposition we’re introduced to on the track Whistleblower. The drone of the cello provides a strong foundation as it couples with an acoustic guitar whilst the lyrics are rhythmically spoken rather than sung. Circles really showcases the versatility and the potential the cello has as a lead instrument, how Copper works that instrument is truly unrivalled. There’s a pop sensibility to it in the melodies, the way in which they stick in your mind. It’s easy to hear Coopers Gaelic roots which shine through in Canada Hill whilst the feel of We Need More Horses takes Cooper back to his days with the Oysterband. Cooper, who wrote and recorded the record during Lockdown addresses the situation in Eyes of Mercy, the arpeggiated guitar ballad which features Godel’s vocal harmonies and a haunting cello counter-melody. It’s a record that shall take time to digest but one you shall wish to play over and over again as you pick out the intricate details within Coopers arrangement and production. Recorded in Sweden during lockdown it is clear that Cooper was inspired by his nordic surroundings and the uncertainty of the world we were living in. ‘Land of Heroes’ proves to be an exceptional album from an awe-inspiring musician and a must in any music lovers collection. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Alan Jackson

Review: Where Have You Gone – Alan Jackson

Alan Jackson Where Have You Gone EMI Records Nashville Alan Jackson’s new record stays true to his traditional, country roots and yet it’s his most personal collection of songs to date. It begins with Where Have You Gone in which Jackson begs the question where has country music gone? It is set to the traditional arrangement of a softly strummed acoustic guitar and fiddle. The ballad sets us up for what we can expect throughout the rest of the album. The harmonies in the chorus help the melody to take off whereas the sort of call and response between the vocals and pedal steel are captivating. Family, just like in traditional country songs, is at the heart of the record. The nostalgic You’ll Always Be My Baby written for one of Jackson’s daughter’s weddings reminisce’s on the past, the different milestones in his daughters life before bursting into this chorus which declares ‘You’ll always be my baby, no matter where you are’. It’d be a perfect father, daughter dance as though the lyrics are so detailed it’s also very relatable. I Do was also written for another of Jackson’s daughter’s weddings, it’s another emotive song that demonstrates Jackson’s devotion to his family. Similarly, Jackson captures the tenderness and love for a much sadder family event – his Mama’s funeral. Where Her Heart Has Always Been features an old recording of his mum reading from the bible as the ballad begins to play. The heartbreak Jackson must have felt is palpable but Jackson transforms the sad event into a positive interpretation as he talks about faith with beautiful descriptive lyrics such as ‘I could hear the roses sing, a bluebird softly claps its wings’. There are plenty of toasts to alcohol on the record too, which is what you’d expect on a good country record, including Beer:10 and Way Down In My Whiskey. The stand out of the drinking songs is actually a love song in waltz time. In, I Was Tequila, Jackson compares himself and his lost lover to various things such as blue jeans and red roses before the pay off line hits with ‘I was Tequila and she was champagne’. The record from start to finish is the embodiment of real country music as Jackson sticks to traditional arrangements and instrumentation and tells stories of family and faith with the most powerful lyrics. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Dustin Lynch and Chris Lane

Dustin Lynch and Chris Lane Release New Collaboration: “Tequila On A Boat”

Just in time for summer, country stars Dustin Lynch and Chris Lane hit the sandbar – and “blame it on the Julio” – in sun-drunk bobber, “Tequila On A Boat” (BMG / Broken Bow Records), available now at all streaming platforms and digital retailers. “‘Tequila On A Boat’ is a song that points to the absolute perfect day during the summertime,” shares Lynch. “I love being on the water. There’s just something that’s grounding to me, and I’ve made so many memories over the years with great friends, being on a boat, and just doing life together. ‘Tequila On A Boat’ puts me in that headspace no matter where I am, and I hope it does to you too.” Best paired with salt and a lime, the Zach Crowell-produced sunny, buddy-Country anthem was penned by Hillary Lindsey, Justin Ebach, and Matt Alderman. Going anchor down with drinks in the air, the guys set course for a much-needed 98-degree buzz – floating on a carefree wave with shades-on vocals and a no-worries beat. Dropping a straight-shot slo-mo music video directed by Mason Dixon, watch as they throw a wet-and-wild boat bash on the lake. From a bachelorette party to some skinny dippers, fans can keep watch for Lynch and Lane, as individual parties pop off all around them. This marks Lynch’s second recently-released collaboration, as he just scored his first time at #1 for consecutive weeks as the most-added single at US Country radio for two weeks and counting. Totalling 74 stations, his current single “Thinking ‘Bout You (featuring MacKenzie Porter)” has also surpassed 66.5 Million on-demand streams. Next up, DUSTIN LYNCH POOL SITUATION: VEGAS takes over the Strip on June 3rd-6th. An experience brought to fans by Pollen, Lynch will host curated parties and a headliner show, alongside performances featuring guest artists Jordan Davis, HARDY, and DJ sets from Brandi Cyrus. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Connie Smith

Connie Smith announces new album ‘Cry Of The Heart’

Today, venerated country singer Connie Smith announces her highly- anticipated 54th album The Cry of the Heart, out August 20th (Fat Possum). On the release, the Country Music Hall of Fame legend is at her absolute finest, affirming Merle Haggard’s declaration about Smith when he said, ““If you’re talking about a country singer, there ain’t nobody better.” The first offering is “Look Out Heart,” written by Marty Stuart and longtime Fabulous Superlative drummer Harry Stinson. Pain and heartbreak have permeated Smith’s timeless country sound and they pulse through The Cry of the Heart, Smith’s first album in a decade and her third collaboration with her husband Stuart (who also produces the effort). Smith asks” How many teardrops have I cried over you” on album opener “A Million and One,” reintroducing listeners to her radiant, textured voice. Smith and Stuart contributed two original tracks written together as well, the soaring “Here Comes My Baby Back Again” and weeper “Spare Me No Truth Tonight.” Other songs on The Cry of the Heart include “I Don’t Believe Me Anymore” the 72nd song Smith has recorded written by Hall of Fame songwriter Dallas Frazier, and Merle Haggard’s “Jesus Takes a Hold,” which is a reflection of Smith’s boundless faith in the midst of troubled times. Grammy Award-winning producer and songwriter Carl Jackson pens “To Pieces” and “I’m Not Over You,” the latter composed with classic country singer Melba Montgomery. Smith has been consistently fanning the country music flames since her first hit single in 1964, “Once A Day” and has carried the torch ever since. In March of 2021 the Library of Congress announced that “Once a Day” was one of the 2020 selections for its National Recording Registry.  “People ask me, ‘What is country music,’” says Smith. “I say, ‘To me, country music is the cry of the heart.’ We all have these experiences in our hearts and I’m trying to identify and communicate with people so they know they’re not alone.” To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Brooke Eden

Brooke Eden Releases Music Video For ‘Got No Choice’

Proving that she’s “Got No Choice” but to love honestly, Brooke Eden has released the video to her newest single. Directed by Ford Fairchild, the “Got No Choice” visual shows the happiness that comes with living and loving with integrity. The video premiered this past Saturday, May 8th on CMT’s Hot 20 Countdown as well as on ViacomCBS’ NYC Times Square billboard and on Pink News in the UK. Watch the video for “Got No Choice” HERE, and watch the lyric video HERE. “Got No Choice” was written by Eden, Jesse Frasure, and Cary Barlowe, and is the third and final track in her reintroduction trilogy. Preceded by “Sunroof,” and “No Shade,” these songs are the manifestation of having taken the time to become confident in who she is and who she loves, marking the end of her four-year hiatus. For each of the track’s accompanying videos, Eden was able to incorporate her girlfriend, hometown, and even the bar at which she grew up singing, giving viewers an authentic glimpse into her life. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Hayley McKay

Hayley McKay releases video for ‘Wild West’

Following on from Hayley McKay’s recent chart topping success with ‘Breathe’, her new song, ‘Wild West’ takes the listener on a trip back in time. Partly inspired by the Doris Day classic western movie, ‘Calamity Jane’, the nostalgic, yet refreshing retro sound features a blend of mandolin, fiddle and guitar, alongside Hayley’s pure vocal. The song is about uncertainty and about taking risk. “The melody and words came together pretty quickly. I then watched Calamity Jane for the first time and some western documentaries, and I started to get ideas for the instrumentation. You don’t hear much of this type of music anymore and I wanted to give it a new lease of life.” ‘Wild West’ was produced in the North East of England by Chris Davison, singer, songwriter and producer at The Forum Music Centre, Darlington. It was mixed and mastered by John P Taylor at Mirage Music and features drummer Paul Smith, who has worked with many well known artists including Alan Hull and Sting. The fiddle is a big feature of the song and was performed by Johnny Bunce from The Spirit Levellers. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Taylor Guitars

Taylor Expands GT Series

If you recall back in the fall of 2020 Maverick Country covered the release of the first Grand Theater (GT) acoustic guitar a new category by Taylor. For 2021 the California based company added two new premium models to this award winning popular acoustic line.  Maverick was fortunate to receive both of them to play and review.  The original GT Urban Ash guitar from last year was a designated working man’s (or woman’s) instrument that you needn’t be as tender with compared to your upscale guitars.  These two offerings take the GT design to a higher level.  The new GT 811e is part of the 800 series and the GT K21e is part of Taylor’s Koa line.  After playing both of them extensively each guitar has its own strengths.  The GT-811e has more string definition and is a bit louder thanks impart to its Sitka spruce top and rosewood back and sides.  Cosmetics that take this guitar to the higher echelon are an abalone rosette, smoked nickel tuners, rosewood pickguard and purfling, ebony fretboard and element inlays made of mother of pearl.  The GT K21e looks luxurious with its Koa wood top, back and sides.  Although not as loud as its 811 sister the K21e provides a different harmonic richness and overtones thanks to the Koa wood construction. Mid-range frequencies are much more prominent in this guitar and the more Koa is played the more the wood opens up and matures.  Other varying features of the GT K21e include the intricate spring vine inlay in the fretboard, maple purfling and binding and Gotoh mini 510 tuners.  Thanks to the shorter scale length of both of these instruments, chording and soloing is much more hand strength friendly.  They feel like a guitar that you have tuned down a half or whole step, so you don’t need to apply as much direct finger pressure to fret each string.  Under the hood, or top of the guitar as it were, all of the GT (Grand Theater) guitars feature the new C-Class bracing by Taylor which is a variation of Any Power’s trend setting V-Class.  Each of these guitars also has the Taylor’s own ES2 electronics built in with simple battery access at the end of the guitar where the strap button is secured.  They also come with a Taylor AeroCase that is much sturdier than your average gig bag, but still light enough to not weigh you down. My favorite features of the AeroCase are the padded handle and the ribbed shoulder straps so the guitar doesn’t shift while I’m carrying it.  Taylor’s GT models split the difference between a GS Mini and a Grand Concert.  For some people the GS Mini was too small, and the Grand Concert was too big.  I think we can all agree much like porridge the GT’s are just right.  When you start playing one of the GT acoustic guitars you just don’t want to put it down. The GT 811e and GT K21e are now available along with the originator the GT Urban Ash.  My take is you can’t go wrong with any of these offerings. For clarity I recommend the GT 811e, for harmonics and depth the GT K21e and for an every day workhorse acoustic the GT Urban Ash! www.taylorguitars.com To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Eric Dahl, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Fender

Fender Celebrates 75th Anniversary!

As a trailblazer in the electric guitar industry it’s hard to fathom that Fender is celebrating 75 years in 2021.  Leo Fender launched the company in 1946 and it is doubtful he had any idea how timeless his instruments and amplifiers would become!  To celebrate this occasion Fender is rolling out the red carpet. The certain to be collectible American made 75th Anniversary Commemorative instruments, imported 75th Anniversary collection, new Artist signature guitars, new amplifiers and the expansion of the Squier Contemporary series.  The 75th American line contains what you would expect from Fender with a Stratocaster, Telecaster, Jazz Bass and Precision Bass.  They each include a silver molded anniversary hard-shell case, certificate of authenticity, Custom shop pickups, 75th anniversary inlay on the back of the headstock and an engraved neck plate.  Maverick Country was fortunate to receive one of the Ensenada created 75th Anniversary collection guitars in a classic Stratocaster shape with diamond anniversary silver finish.  The guitar has a modern C neck with satin finish that plays fast and has a matching painted headstock.  It reminded me of the Fender 25th Anniversary models from back in the day, but this modernized version plays easier, is lighter, stays in tune better and sounds incredible.  The neck plate has the 75th Anniversary logo and the finish will shine under stage lights.  This series also offers a Telecaster, Precision bass and Jazz bass.  Fender is also spotlighting some of their incredible artists with the new inclusions to the Artist Signature models.  This year Chrissie Hynde (The Pretenders) has a Telecaster edition, Mike McCready has a Custom Shop Strat, Ben Gibbard (Death Cab for Cutie) Mustang, Joe Strummer (Clash) Campfire acoustic and Dhani Harrison Ukulele.  The Jason Isbell Custom Telecaster arrived for review and it is a stunner with the chocolate sunburst finish and Roadworn aging.  The checking and finish dings in the body and the binding look incredibly realistic like the guitar has seen many road and tour miles.  The c shape neck is smaller, like most 60’s Fender instruments were, and it fits deep in the pocket of your hand.  The rosewood fretboard helps take a bit of the twang and pop out of a usually treble heavy guitar like the Telecaster.  What is most appealing about the Jason Isbell Tele is that it is understated compared to other signature models.  There is no signature or symbol to designate it as Jason’s model on the front.  The only way a person would know is to look at the back of the body where the neck plate features his anchor logo.  The pickups in this guitar were custom wound to Isbell’s specifications as he worked with guru Tim Shaw.  The custom modified bridge with brass barrels is a nice touch too and certainly adds to the great tonality of the instrument.  If I had to sum up the Jason Isbell Custom Telecaster in one word I would say “tasteful.”  Unfortunately, we don’t have enough space to cover all of the new Fender releases on this page.  And many of the instruments and amplifiers will be released gradually throughout the year, so we are certain to have more coverage in the future. Check out the 75th Anniversary Commemorative series and Collection everybody loves to celebrate! www.fender.com To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Eric Dahl, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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