The Bobbo Society For The Arts & Letters

Thank you Rocking Magpie! Review for "so many bars, so many saturday nights." 

Bobbo Byrnes 
So Many Bars, So Many Saturday Nights 
Broken Silence 

Good Time Rock & Roll For a Friday and Saturday night (or a Tuesday in February too!) 

I have absolutely no idea how 'big' Bobbo Byrnes and The Fallen Stars are in the US of A and Canada; probably not filling stadiums or the likes of Madison Square Gardens as I imagine and/or fantasize....but that's what I picture when I play they're albums; and this latest release ain't any different. 

At times it's been difficult to tell where Bobbo ends and the characters in his/they're songs evolve; but I'm pretty damn sure the belter of an opener Chasing Rock & Roll is a very personal song; as they hit the ground running with a tale of the thankless task and addiction being a musician can be; starting out as a College Band 'driving across the County in a beat up van' then changing direction more often than a Tory Government! In this case switching from Acoustic Rock and discovering Punk Rock, which meant the transition to 'Marshall stacks' and 'sleeping on the floor in London' ...... history and their subsequent albums tell even more changes were to come; but this song will resonate with bands who are also still *Chasing Rock and Roll in every continent across the globe. 

*BTW Bobbo told me that this song was originally called Fighting Rock & Roll and was very angsty, but wife Tracy (as wives do); when asked "What do you think?" replied; "Shouldn't it be Chasing Rock & Roll?" and a million-dollar hit was born! 

As usual The Fallen Stars cover a whole lot of ground here; crisscrossing genres at will; coming out the other end with a Johnny Cash fronting the Clash hybrid; which was how I first heard the Waco Brothers described and perfectly suits the feisty Honky Tonk these cats produce with Outlaws and Angels, Walk Away and especially the Folk-Punk of Walk Away which sounds like Steve Erle could have been in the production booth! 
Even when I was originally listening to the first track the very first time I found myself attracted to a song called Truckin' Song ...... and found myself thinking "There aren't enough Trucking Songs in Country Rock anymore!" Obviously Willin' springs to mind; but back in the 80's and 90's they were de rigueur; but seemed to die away when Dale Watson did a whole album of them; and Bobbo Byrnes flies the flag with vigor, passion and diesel fumes blowing out of every hard driven groove. 

There are two cover's here; and I didn't exactly recognize the first .... originally a hit for The Kingston Trio; Charlie and the MTA; apparently a staple of the Fallen Stars live shows for many years; and featuring some mighty ballsy mandolin playing; eventually got appropriated by the Dropkick Murphy's after seeing our heroes smash it out of the park one night. 

The other closes this all too short album; and it's the antithesis to Chasing Rock & Roll Originally sung less than subtly by someone born 8 miles from where I'm sitting, yet he fronted the biggest band to ever come from Australia; it's only Brian Johnson and the AC/DC's Long Way to The Top (if you want to Rock & Roll) which now sounds uncannily like a Ramones song played by a Country band in a roadside diner on a Tuesday night in February ...... which adds frisson like you won't believe; until you hear it! 

That leaves two songs to fight it out for the title of RMHQ favourite Song; the crash and stomp anti-love song that is Different Beds; a song that will scare the neighbors when cranked up to 10; and the other is slightly less frightening; but very imaginative when you know it's written by a 'happy loving couple' which probably makes the slightly sexy Outlaws and Angels my favourite by a whisker; with Tracy's harmonizing sounding quite threatening at times. 
It's all too easy to be a Springsteen fan or Tom Petty or even if you are of 'a certain age' Bob Seger perhaps; but what with the recent retirement of the Waco Brothers, Bobbo Byrnes and the Fallen Stars are my 'go to' band for good time Rock & Roll on a Friday and Saturday night (and a Tuesday in February too!)


Released August 21st 2021

on being an "Artist" 

I have always felt slightly uneasy when someone referred to themselves as an "artist" unless they were some kind of painter, sculptor, Van Gogh or Michelangelo. I would see it while traveling and be staying at "the artist's flat" in Bremen or be referred to as such in print but I have become much more at ease with it over the years. 

This ease of a descriptor is not brought about by hubris or ego but it is a shift in thinking that I believe is important for anyone who creates anything. I am still slightly shocked when anyone likes a thing I have created. I mean, I like it but... 

I often urge folks coming into my studio to think of what they create as "art" and not just a song or a thing they made up. They are literally creating a thing that will most likely outlive them. The words and music we sing and strum will echo out forever whether in the digital ones and zeros of the internet or just in the memory of folks that have heard it. I am not claiming that all art is great, that is certainly a different discussion, but all art is created by a person or persons with a vision for a picture, or a sound or a scarf or whatever their chosen medium is. 

This week I am releasing new music into the world which is often a time of uncertainty for any artist. We create a thing in a studio, spend time tweaking all the details - details that most people will never hear, things like: re-recording the mandolin part with three different mandolins to make sure you get the right sound. Endlessly recording the intro to a song because you've written a part that is just slightly ahead of your skill level, or fussing over how loud the cymbals are in the mix so they don't wash out the guitars. 

It is absolutely imperative as an artist to believe in what they create. If you make music to try to impress critics, that will show. If you make music to try to cater to an audience, that will show. If you listen to the drunk at the bar who says "you know what you should do..." it will show. But if you follow your muse and create music that sounds like you, your soul - that will resonate no matter how it sounds. 

Authenticity always shines through. 

There are always conversations with other artists about what they should or shouldn't create. I have a super talented friend that often feels handcuffed by walls of genre that he has created around his music. He's creative with acoustic guitar and just his voice, he can play all the instruments in hard rock recording and can even make great EDM music when he feels like it. He enjoys all these different forms of music and can authentically create them not just as a person who knows how to record and play but as a fan of the musical styles as well but he's afraid an audience might not be up for all of that even though he himself would love an artist that embodied all of that. 

I'm also working with another group right now that I know is anxious about their new creation because people liked their last cd but their new one expands upon what they have done before and what if people don't like it? It is authentically them and I keep telling them that their voices and songs are what hold everything together. Whatever they do is going to sound like them. They are not playing it safe - they are following their muse and I love it and it's going to make them new fans. 

Which brings me to "so many bars, so many saturday nights", my new cd. I took some of my own advice with this one and it's a little all over the map - like me. Most of the music for this cd was going to be on my last album "SeaGreenNumber5" but I didn't feel like it fit in with that collection of songs, either stylistically or thematically. But I still liked these songs and didn't want them or the recordings to just disappear into the ether so I finished them. 

There are two mandolin songs on here, an AC/DC cover, the angriest song I have ever written, the most "me" song I've ever written and my favorite song about trucks. My buddy Brian Matteson played drums on 4 of the songs and he rocks them, even throwing a "blast beat"* into a break of one song. Matt Froehlich played drums on the other 3 songs and train beats like the best in the business. Tracy is of course here playing bass and singing harmony and nearly takes over the AC/DC song with her part - you all know she's a rocker at heart. Jeremy Long adds his pedal steel to two songs and just tears it up like we're the house band in Roadhouse. Geo Hennessey adds her violin to the folksy/Irish side and we feel like we're third class passengers coming across the Atlantic. Jen Moraca adds her theater trained voice to a few songs and threads the needle between the other voices to add lift like only she can. 

But here's the thing - I started writing all of this because of a review I got in my email this morning. It's a review that's coming out next week from the Rocking Magpie website in the U.K. Alan Magpie has been a fan of mine for a while now and I'm always excited to send him new stuff, not because I play for the critics but because I know he's a fan, not just of me but of the things that have influenced me. 

As an "artist" I have the freedom to do whatever I want to do and I follow my muse wherever it takes me, whether it is a folk song from 1949, a hard rock anthem from 1975 or something I wrote a couple months ago. I play music that moves my soul and I hope it moves others and when you get a review like the one that Alan wrote up - it's life affirming. I don't say that lightly. We all have our doubts about everything. The little voice that always tells you you're not good enough or that you're kidding yourself or however your internal monologue likes to tear you down. But when someone you have never met listens and hears you, really hears you - there's nothing better. I have been exceptionally lucky in this regard with a handful of reviewers like Lee Zimmerman, Robert Kinsler, Brian O. 

And like Mark Twain said "I can live for two months on a good compliment." 

These folks have given me the courage to be my authentic self and release music that sounds like me and I take that courage and try to pass it on to others. 

*from wikipedia: A blast beat is a drum beat that originated in hardcore punk and grindcore, and is often associated with certain styles of extreme metal, namely black metal and death metal and occasionally in metalcore. In Adam MacGregor's definition, "the blast-beat generally comprises a repeated, sixteenth-note figure played at a very fast tempo, and divided uniformly among the bass drum, snare, and ride, crash, or hi-hat cymbal." Blast beats have been described by PopMatters contributor Whitney Strub as, "maniacal percussive explosions, less about rhythm per se than sheer sonic violence".


In the early 2000s I used to work in this rehearsal studio just south of Los Angeles. It was a mostly easy job where I would set up bands for their rehearsal and then hang out playing my guitar most of the night. One evening a manager guy comes in with some twenty-something band that he’s trying to get a deal for and they are auditioning guitar players. The manager is a bit of a loudmouth and the band seem both very cocky and very green.  

The band and the auditions fizzle out but I strike up a conversation with the manager guy. His name is Martin and he name drops at an Olympic level. We had a lot of the same favorite bands, he talked about breaking the band Fastball, having the masters to the first Elvis recording, saving REM’s Peter Buck’s guitars from falling over, hanging with Drivin’ N Cryin’, Rage Against the Machine, The Police, No Doubt, being screwed by just went on and on in an nearly endless list of who’s who in rock and roll but I was also young and green and very taken by him. We ended up talking until nearly 4 am and become...friends? 
“I’m taking you out tonight, I want you to meet some people.” and he picks me up and we go to LA’s comedy club where he knows all the comedians that I would later see on tv. We don’t actually go in the club to see the show, we go around back and hang out with them between sets. We sit with Billy Bob Thornton at the Rainbow and wave to Lemmy at the other end of the bar. It’s getting late and he says we have one more stop to make and next thing I know I’m struggling to stay awake while talking to Miles Copeland in some swanky bar where I can't afford a drink. I think we talked about the Go Go’s.  

His name drops are holding up, he seems to really know all these people but no one seems to want to work with him. It’s odd.  
I’m back east visiting my folks and I get a phone call from him inviting me to go see Kevn Kinney doing an acoustic show.  A few hours later the phone rings and it’s Martin and he says, hold on Kevn wants to ask you something. “Hey, how come you’re not at my show tonight?” yells Kevn Kinney into his phone and I have a very brief conversation with the leader of Drivin’ N Cryin’ explaining that I’m on the wrong side of the country tonight. 
“Bobbo, I need you to play guitar in a session tomorrow. I’ll pick you up at 9. Be ready.” 

The next morning I pack up my amp and a couple guitars into his car and we drive to Malibu. We’re recording in Rami Jaffee’s house in Paradise Cove. The drummer on the session is from Megadeth. The bass player is a one hit wonder who was also in Wham! Rami is the keyboardist from The Wallflowers. The singer is a woman from Seattle that I never met and me on guitars. We’re doing two songs; one original and a Toad the Wet Sprocket cover. I learn the songs on the ride there. It turns out the original guitar player on the session was the singer’s boyfriend or something and he couldn’t perform under the pressure and was self medicating with pot to calm down and that wasn’t working and he pretty much was just a puddle in a chair most of the time.  

The session goes great. Rami and I hit it off while bonding about Daniel Lanois albums. We end up making weird noises with a lap steel, I rock the guitars and help the other guitar player by writing a part for him and showing him how to play it, as well as intonating his guitar so it will play in tune - just so he could still be on the song. Rami and I recorded some backwards piano parts and had a super productive day. The songs sound very rocking and it’s probably the most “modern rock” thing I’ve done to this point. It has commercial appeal in a way that KROQ would play it. We’re all pretty jazzed on the session.  

The mixes get back to the singer and she is mad that her boyfriend’s guitar is not on there. Then Martin stiffs Rami on paying for the session and the whole project falls apart. 

Because I was brought in by Martin it takes me a while to get back in good graces with my new rock star friend Rami but we finally patch things up and I record my next album at his house with him playing Hammond B3 on a bunch of the songs and he ends up staying at our house while we’re on tour while he’s between things because his daughter lives near us. One day I'm recording with Rami and his phone rings, it’s Dave Grohl asking him to come do some overdubs on the new Foo Fighters album.

July 19, 2021 

Had a fantastic show at the OC Fair over the weekend and as much as I'm a gear snob and have a bunch of guitars and amps - for the time being I am completely happy playing my Princeton, tele and Gibson acoustic. I can do everything I want to do with just these things.* 

It's a weird place to be ~ content with my sound. I am envious of the folks that get their sound figured out early. It took me a long time before I finally was like, nope I got this. And it feels good. 




*And a few pedals.

June 3, 2021 - can't you see? 

“Can't you see, ohh, can't you see 
What that woman, Lord, she been doin' to me.” 

This song has bugged me for years because I hate lazy songwriting. Yeah, I know, It was a huge hit. Great chorus but the verses don’t hold up. Not just that but song structure wise - if you can play a D chord, then a C chord and lastly a G chord - you can play this whole song. There is no bridge, no modulation, no second part just jamming over 3 chords for a little over six minutes. Not that musical complexity makes for a better song but this is musical boredom, it’s lazy, it’s lowest common denominator music. 

Yeah, of course it’s a great summer jam with flute solo but it’s still a half ass written song.  

When I hear this song - and it’s still played A LOT - on the radio all I can think of is the person that wrote this song and the kind of relationship they would’ve been in in order to half write it. The only clue that is given to any kind of understanding is in the second verse when he says: 

“I'm gonna find me 
A hole in the wall 
I'm gonna crawl inside and die 
'Cause my lady, now 
A mean ol' woman, Lord 
Never told me goodbye.” 

He puts all the blame on the woman, accepts no responsibility for any part of his story and pretty much just says “bitches be crazy” and that’s it.  

There's this guy I know and a few years ago he got fired from his job. I asked him why and he was like “I don’t know. They just fired me with no explanation.” Now I’ve been fired from a few jobs and here’s the thing - you always know why you’ve been fired. If you are not aware enough to know this, most likely you’ve been told several times and it is not sinking in. This guy was one of those dudes that wasn’t going to learn anything without making the same mistake a dozen times with many people telling him “dude, you shouldn’t do that or you’re going to get fired.” I don’t even have to get into specifics - you probably know a dude like this.  

Now Mr. Marshall Tucker seems to be that kind of dude. His woman never told him goodbye. Boo-Hoo. I’m sure she said it a dozen times. She probably said things like “if you don’t stop leaving your dirty underwear on the floor, I swear to Jesus I’m gonna leave.” Or “That’s it, I’m out of here, I’ll be at my mothers.” And he was just like “alright, get me some beer while you’re out.” and she didn’t come back and he's not smart enough to ask around and say

"Hey, has anyone seen Becky?"

"Yeah man, she's staying with her mother."

"Oh, is it because she's a mean ol' woman?"

"No man, she said it's because of you, she left because you never listen to her."

And this bothers me more than it should.  

It’s god damn classic rock and EVERYONE knows this song. Hell, I've played it a bunch of times, I’ve never practiced it or learned the verses because you can say anything in them and no one else knows the difference - that’s how bad the lyrics are.  

“Gonna take a freight train 
Oh lord a freight train 
Gonna take that train on home 
Gonna sit in my seat 
Oh lord my reserved seat 
Don’t care if I’m on the aisle.  
Can’t you see?*” 

Those lyrics could be the lyrics. You don’t know. Enough of them sound right and they move the story along just as much as the actual lyrics and they fit meter wise. I wrote them in the same amount of time it took to type them. Marshall Tucker had more than 15 seconds to write a verse and they didn’t try much harder than I just did making up new words.  

My gripe with this isn’t that people love “Can’t you see”, my gripe is that it’s a missed opportunity to write something meaningful with a great chorus. That chorus is KILLER. It gets stuck in your head for days but it’s a chorus without a story. Not just that but they never even used a question mark with the song title making it grammatically incorrect as well. It IS a question. Can’t you see? They weren’t even smart enough to put the goddamn question mark on there.  

There are a lot of half ass hit songs out there** and this has nothing to do with me thinking that any brain droppings of mine belong to be elevated to classic rock status but more with other artists songs that are not.  

Kathleen Edwards has a song called “Asking for flowers” that maybe could be the flip side of the story of “Can’t you see.” You can almost imagine it as the woman that left having written this. 

Her chorus: 

“Every pill I took in vain 
Every meal for you I made 
Every penny I put away... 
Asking for flowers 
Is like asking you to be nice 
Don't tell me you're too tired 
Ten years I've been working nights.” 

There is more story in that chorus of Kathleen’s song than in the entirety of Can’t you see and this isn’t even my favorite K.E. song, I don’t think it’s even her best song - it’s just one that comes to mind as a response to “Can’t you see.” 

“My life is like a picture
Left out too long in the sun 
Now I'm trying to remember all 
The faces of the names I've loved 
And all that's left of me now is 
A cigarette burning bright 
And a fading memory of all the things 
I tried to get right” 

Now that is a song lyric. This should be elevated to classic rock status. If “Asking for flowers” got 1% of the rotation of “Can’t you see” the world would be a better place, there would be better songwriters, there would be a deeper understanding of the human condition. 

Maybe if it had a flute solo...   


*Look, I even used a goddamn question mark like any normal person would. 
**The Killers song “Mr Brightside” is another song that pisses me off. The music of this song is fantastic, it rocks, it has a great first verse and chorus but that’s it. He just repeats the same first verse and sings the chorus again. Yeah, it was a hit for them but it’s still only HALF a song. They wrote a killer (pun intended) first verse and chorus. They could’ve spent some time working on a second verse and moved the story along but NO, it’s good enough. Do most people even notice this? I don’t know. How could you NOT notice that they’re only singing half a song, or the same half twice?  Musically and vocally this song rocks. It would be great if they just finished writing the damn thing.  

“All right now” by Free always sticks in my craw as well. Shit, they left the metronome on in the song and you can even hear where they’re off around the 2:50 mark! Now again the music is pretty rockin, great guitar and bass solo but this one sounds like they just looped the tape and the first and second verse are exactly the same, same inflection in the vocals as well. It’s half a song with a guitar solo and yet will get played forever on classic rock radio.

May 15, 2021 

I've been a little quiet the past couple of weeks. With vaccinations happening - we finally got to see our folks. Tracy's parents came for a visit and then my Mom flew across country and spent a week with us. I hadn't seen my mother in 18 months so that was good. 

Diving back into stuff and looking forward to being back doing what I'm supposed to be doing - making music in front of people. I know other folks are out performing already but I'm still a little skittish. Seeing "anti-maskers" around and folks that don't seem to care about anyone else...  it gets me worked up and makes me want to hide in my studio. 

I want to be positive. I want to believe in better angels or angles. But it is hard. I'm not alone in this feeling.

Musically - over the past few weeks I was Artist of the Day on a Canadian website, was featured on Cashbox Canada and got a new review in the Lonestar Times, a music magazine based in Italy. 

My live-stream this week will be on Monday as I will be doing an early show at noon and an evening show at 7 pm so I can play to folks across the world and accommodate the different time zones. 

I'm working on the special stuff for the vinyl release as well. There's going to be a special design t-shirt to go with them and if you haven't ordered yours yet - here's where to do that.

LoneStar Times Review

Cashbox Canada

Starlite Sessions Artist of the Day


May 4, 2021 

Hey everyone! Just a quick note. * 

I'm going to be live on 

WaveRadio Boston 

Tuesday, May 4 from 4-5 pm (PST) or 7-8 pm (Boston Time) 

I'm also doing my 

Tuesday Lunch Time Show 

this week on Tuesday from 12-1 pm (PST) or 3 pm EST and 9 pm (CET) 

I also did an interview with 

Starlite Sessions 

in Edmonton and will be featured on their site on Saturday, June 5. I may have even instigated a fight with them over the 1988 Stanley Cup Finals and accused Wayne Gretzky of sabotage on the old Boston Garden. If I have to fight all of Edmonton I hope some of you will have my back on this one. 

I was also featured on Cashbox magazine's site as well. 

I am also now fully vaxed and looking forward to getting back out in the world very soon. I've even booked a couple shows up the west coast the end of June. Slowly, safely. It's such a weird feeling but I can't wait to see everyone's faces again! 



P.S - I'm looking at the end of July for the vinyl to be in. I'm getting super excited about that - remember, this is a limited pressing of only 200 records and a whole bunch of bonus things to make it special. Pre-order is HERE. 

*I dig this picture and the hat. If you look in my eyes you can see that I took this picture myself. It looks very Ray Wylie Hubbard to me.

March 27, 2021 

Chasing Rock and Roll, the backstory:

2020 was weird for everyone and I found myself in the strange position of not looking forward to anything but looking back for comfort. All the way back to the late 90s when my band did a couple of tours in Canada. I ended up writing a love song to them and realizing how much that time together shaped who I was to become. 

The details are all true, right down to someone in London bugging me to listen to Blue Rodeo and gifting me one of their albums and me being an obnoxious American and dismissing what would become one of my all-time favorite bands. The El Macambo and Hotel Brunswick were two places I remembered playing. I remember wandering into Don Cherry’s Sportsbar and watching a hockey game instead of going to soundcheck. I remember hanging with band members from ’63 Monroe, Landslide and Osterberg and staying at one of their houses where the only food in the fridge was Labatt’s 50s and a couple of ketchup packets. I remember cutting my arm open on my guitar strings and finishing the set with someone else’s guitar and bleeding all over it, I remember it being one of my favorite places to tour, falling in love with Canada and not wanting the tour to end. 

I sifted through old boxes of photos and a VHS tape of us performing and made a video that is definitely a rose coloured rear view of that time. You may not have known us but you knew someone that was just like us.

YouTube Video Here.

March 16, 2021 

Sorry I've been away. Well, not away AWAY, just, you know ~ away from the blogging. I spent a bunch of time editing my new video for "Chasing Rock and Roll" and I'm pretty happy with how it came out. 

Like most folks, the one year anniversary of staying home has been hard. I'm anxious to not be so judgmental of folks when going out or seeing them on tv. What did we learn from Ted Lasso? Be curious, not judgmental. I keep trying to tell myself that but it's hard.

I've booked some things coming up in the fall and I'm trying to stay positive about it but day by day it feels like the future is not getting closer but further away. I haven't had any vaccine yet and I'm ready to get it. Knowing that you are "non-essential" is one thing, being told you are non-essential actually stings a little bit. I get it, I'm not going to cut in line. It's just the reality does hit you. 

I am excited to be working on the vinyl release of SeaGreenNumber5. Since I haven't toured, it feels like I'm supposed to be working on a new album but SGN5 is only 7 months old! So the vinyl release will extend it's "new-ness" for me. Also - vinyl! It's going to be on special sea-green colored vinyl!!! I'm so excited. 


February 1, 2021 

I went to town setting up a live stream over the weekend with Tracy and all that only to have technology fight me every step of the way. 

If you tuned in, I apologize. There was slow internet issues (that I have since fixed) and audio issues with Facebook Live (that I can't fix). I spent a large amount of time trying to figure out what went wrong with the audio, I had this all worked out and Facebook changed something in their settings that prevents any iPhones or iPads from using external audio sources. The worst part was thinking that I was doing something wrong when it was not me at all. When so many things that are unfixable in the world, having this small technological thing that I had figured out taken away from me was Extremely frustrating. I am trying to find a work around but even that is frustrating because I already fixed it once.

I know that change always happens and I'm not someone who is adverse to change but annoyed when things get broken that were working just fine.

I've booked a few in person shows starting in September and I'm hoping that isn't still too soon. It's important to start planning ahead as without something to look forward to the braincloud* gets bigger and harder to see through. 

Rehearsing in my studio so that my songs and performance is better when we all emerge from this fog of covid is something I work on daily. Staring at the same walls you can sometimes feel them closing in. We went for a drive yesterday and just being in a car on the highway felt refreshing and I suddenly missed a long car ride. I cannot wait to be on the road bringing my songs and stories everywhere again. And yet, as soon as we were near people yesterday, I couldn't wait to get home. I fear that the unknown side effect of Covid is going to be more cases of agoraphobia or anthropophobia. I can already feel myself becoming a little more socially distant and just wanting to hide at home. 

Plus sides for today: Stacey Abrams being nominated for a Nobel Peace Prize. That's amazing.

Be well, talk soon.







*For fans of Joe vs The Volcano. 

Jan 23, 2021 

New website is up and working. I've been working on it for about the past week and Tracy got on here and helped the past couple of days. Whew!

Tonight I'm doing a "Songwriter in the Rectangle" with Doug Schmude, The Sidemen and The Odd Birds. It's on Zoom and here's the link:

Zoom Link. 

7-8 pm (PST) We'll be sharing songs and stories.  

February 2021 Playlist:

New ear candy for your head holes.:

Spotify Link Here.


January 2021 Playlist

I set up a Spotify playlist of stuff I've been listening to, like Katie Pruitt, Kathleen Edwards, Kasey Musgraves, Great Peacock, Taylor Swift, Old 97's and Rhett Miller.

Dig it here.