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REVIEW: Miranda Lambert – Platinum

Miranda Lambert released her fifth album on Wednesday, choosing a simple play on the word Platinum for the title. She could be referring to her platinum blonde hair but, seeing as how her last four albums all went platinum in sales, it is more likely an easy prediction. This album finds Lambert at her most introspective and nostalgic, everything from the lyrical content to the adventurous spirit of the compositions, Platinum relishes the past. Though she presents more of her rootsy side, she blends it with the modern pop sensibility, pushing herself as only a fully-developed artist is able to do.

It is musically her most diverse album to date, going from lively guitar shredding in “Little Red Wagon” to a lap-steel ballad in “Smokin’ and Drinkin’ (feat. Little Big Town)”. On Platinum we find Lambert stretching the limits of the genre and experimenting sonically while keeping her strong voice and persona intact. It is this voice that holds the album together, guiding us through her corner of the south, sharing the perspective of a confident, strong and charismatic woman who offers no apologies. From feminist issues to her marriage to Blake Shelton, she takes her daily concerns and filters them through her realistic and often humorous perspective.

She guides us with a wink and nudge but just when that sort of rye humour might grow tired she lets down her guard and shows us her more vulnerable side on tracks like “Bathroom Sink”, a song about facing yourself in the mirror and the depth (or shallowness) it could entail. She gives us these vulnerable moments only after presenting herself as self-assured, resulting in an endearing three-dimensional persona that is easy to relate to and admire. As far as role-models go, the youth of today could do a lot worst, Lambert advocates generosity and good-intentions but she constantly reminds us that she isn’t perfect nor does she pull her punches.

Lambert includes a lot of radio-ready pop-country in Platinum but also songs like “Old Sh!t”, a tune where you can almost hear the creaking of a rocking chair on a porch, and “Gravity is a B**ch”, a honky-tonk stomper with so many great lines about getting old it would be difficult to highlight the best. Both songs contain expletives in their titles, something not usually seen on country music records, and they both sound like they consciously avoid pop-country production. Instead they harken back to more simple times, melding southern grit with some modern sensibilities.

Unfortunately, there is a bit of a contradiction when listening to the more subversive songs that represent a reaction against pop-country, like the folksy “All That’s Left”, next to those that fit the mold like the lead single “Automatic”. Lambert co-wrote the song with lyrics that look back fondly on the days before everything seemed so easy. It’s a relevant message that can hold several meanings, the obvious one being the advent of technology but the more interesting one would relate to Lamberts process. The more adventurous songs sound like reactions against being more comfortable with the song writing process. While “Automatic” has an infectious melody and a relevant message, Lambert seems to forget this very message in the song itself and relies on predictable pop-country devices without taking much risk, but assuring radio play.

A good blend of Lambert’s risk taking and mainstream sensibility is her duet with Carrie Underwood, “Somethin’ Bad”. The drums take centre stage in the production and hit hard as the two talented voices take turns snarling with ferocity and cooing gently. It’s like the Queen classic “We Will Rock You” filtered through the Lambert lens but keeping all of that sneering attitude that can only come from winning. That is the essence of Platinum, Lambert knew going into it that this was her victory lap.
Is all this to say that Platinum is lazy? It is actually very ambitious in scope, encompassing many different styles with Lambert’s vision keeping it cohesive. Having both deeper cuts and big pop-country choruses suitable for the summer just makes the album more diverse. Platinum is the vision of a unique talent with an incredible voice that despite world-wide success can still write some of the most humble and honest songs out there. You can’t help but be won over by the end, as she caps the album off with “Another Sunday in the South”, a track with imagery that captures the heat of those afternoons perfectly. It’s got sultry guitars and organs creating the kind of closer that makes you want to start the album over again.

Let us know what you thought of one of the biggest name in country music’s latest effort in the comments below.

Richie Sambora Joins Zac Brown Band for Epic CMA Fest Performance

Before heading to Europe for his upcoming tour with Orianthi, Richie Sambora was excited to head to Nashville, TN, surprising crowds with an incredible appearance during Zac Brown Band’s set at the CMA Music Festival. The collaborative performance, which saw Richie and the acclaimed country/folk band riffing on the iconic hit “Wanted Dead or Alive” had the crowd amped up over at LP Field.

Said Richie Sambora “What a blast playing with my brother Zac Brown. Nashville has always welcomed me with open arms and it was incredible to jump on stage and feel the energy of that amazing crowd!”

Richie’s European tour kicks off June 13th with a sold out show in London. He’ll be back in the states for 3 special performances in NYC, being announced shortly.

Celebrated American rock icon Richie Sambora has become known throughout his remarkable 30-year career for his raw vocals, indelible songwriting and world-class guitar playing. As both an acclaimed solo artist and a founding member of multi-platinum, Grammy-winning band Bon Jovi, Richie has sold over 130 million albums worldwide and has co-written over 20 Top 40 hits and 11 Top 10 hits, including “Livin’ On A Prayer,” “You Give Love A Bad Name” and “Wanted Dead or Alive.” He was inducted into the Songwriters Hall of Fame in 2009.

Photo Courtesy: Jessica Crans, Keepin’ It Country

EXCLUSIVE: Interview With Jason Charles Miller

Jason Charles Miller is definitely not your ordinary urban cowboy. Rather, he represents the dark, gritty side of country music – the type of country music that should receive more acknowledgement than it does.

Regardless, this Virginia native knows his way around the entertainment industry. Although he might be most known for heading the rock band Godhead, Jason has travelled many paths throughout his life. His impressive resume includes writing, producing, voiceover recording and acting. If that wasn’t enough, Jason is busy overseeing his own recording studio, Central Command Studios.

We caught up with Jason today to talk about the release of his new single “Up To Me,” his recent signing with Render Records, how he feels about the music industry and what he has to offer.

We can promise you that this man has a mind and heart evident in both his thoughts and music that any country music fan could appreciate and love. Take a look for yourself:


Your single “Up To Me” was released to country radio today. Tell us about that song and what it means to you.
I wrote it with my friend Joe Doyle who is a pretty awesome songwriter. He’s had a 25+ year career as a professional songwriter. He’s had songs for Kenny Rogers, Jason Aldean, Tim McGraw and everybody in between – even Alabama. One of the keys to his success as a country songwriter is that he doesn’t listen to the radio or pay attention to trends. He just loves to write. I really admire that about him because as a country artist and as a country writer, I’m always listening to the radio. Sometimes I get really frustrated, but it also may influence my approach to songs. Sometimes that can be a dangerous way to approach the way you’re going to write a new song (based on a song that’s on the radio right now).

We were talking about the subject of what we wanted to write about. This is actually the first song we ever wrote together. We realized there are hundreds, if not thousands, of songs about a bar. But we couldn’t recall any song that was actually taken from the perspective of the bar and the bar that you lean on and order your drinks from. What if we brought life to that bar and personified this thing? Anybody that has ever been to a bar has leaned on, has ordered a drink from, has spilled a drink on or has met someone at a bar. A lot of these things that happen in our lives happen while leaning on a bar – at least most adults. We decided to take that perspective and just go with it. I hope that people get it, enjoy it and like it because the challenge as a songwriter, especially in a genre like country music, is that there are certain subjects that are almost expected of you as a country writer. But it’s about finding how to stay within the parameters of what a true country song is and still give it a unique perspective and a unique way of presenting maybe a story we’ve heard before, but telling it in a new way. I hope that we did that.


How has living in Hollywood affected you as a singer, especially a country music singer?
It’s really interesting. I have to go to Nashville to find anybody that likes the kind of music that I do (laughs). Although, if you scratch the surface, you’ll find people that really like country music. As far as fans go, the largest country radio station in America is actually in Los Angeles. But as far as country artists and writers go, they’re harder to find. In a way, its kind of nice because that makes it a much smaller community and a much more manageable community. We all kind of know each other. But at the same time, most of the writers out here are obsessed with pop music and that’s the big business in music in Los Angeles. So it’s a challenge finding people that are really familiar with country music to write with and to collaborate with. People that aren’t familiar with the genre don’t realize how detailed it really is. Unless you have either really grown up in it or really studied it for a long time, you wouldn’t know that there are so many subtle nuances to all of the sub-genres of country music. It’s really refreshing when you do run across somebody that knows what you’re talking about and knows what they’re talking about because it’s just a lot harder to find here.


You’ve opened for artists like Toby Keith, Gary Allan and Eric Church. Who would you like to tour with in the future?
Jamey Johnson is my musical hero, so I would absolutely love to tour with him. On a larger scale, somebody like George Strait would be amazing. Have you heard of Blackberry Smoke out of Atlanta? They’re on Zac Brown‘s label. The thing I love about them is they have a really infused southern rock element within their country sound. I would love to tour with them. Those are just the ones off the top of my head. There are so many. The great thing about country music is that I love how so many artists that are pretty widely varied but still fit under that umbrella of country all sort of tour together. I would love to open for Merle Haggard. He’s still touring and he’s one of my all-time favourites.


You signed with Render Records last month. How excited are you about that?
I’m really excited. With living in Hollywood, I’ve probably made at least fourteen trips to Nashville in the last two years. I was a shock to a lot of the major labels in Nashville. Almost universally, I got the same message back that was “he’s too extreme for Nashville.” I don’t believe that because I think that there is a huge disconnect between “the powers that be” and the fans. The reason that I feel like I’ve proven that that’s true is I’ve opened for Toby Keith, Eric Church, Justin Moore and Gary Allan. I co-write with Toby Keith’s bass player and music director. I co-write with Eric Church’s guitar player. What I’ve discovered is that when I opened for these artists, their fans embraced me from note one. They were in to it right away. I think that the same fan that listens to Toby Keith also listens to The Allman Brothers or Lynyrd Skynyrd or even Disturbed or Linkin Park. I think that especially now in the age where you can listen to anything in a second if you want to, everyone’s musical tastes are widening.

I feel that there is definitely a place for me in country music. So it’s a big justification to me to sign with a Nashville label that gets me, understands me, and will let me be who I want to be and won’t try to water me down or try to change me to fit into this small little mold. I think that the fans are sick of that. I think that they’re hearing way too many things that sound the same and I want to break that mold and expand people’s horizons that already are expanded – just the “powers that be” don’t know it yet.


You co-wrote or wrote every track on Uncountry, your first full-length solo debut. How important is it for you to have a stake in writing your songs?
I think it’s pretty important for me. Coming from my rock career and coming from a band, I think it’s important because it puts your personal stamp and your personal signature on it. When I do cover songs, I try to put my own spin on them. My new album is going to be called Natural Born Killer. That is coming out in July. I do one cover on there, but all the rest are either solo-writes or co-writes. I just think that if you’ve been a writer for as long as I have – cause I guess I’ve been a professional writer for almost twenty years – you want to have that personal signature on there. So for me, it’s important. But then again, if I hear a song that just blows me away, I’ll want to record it as well and put my own stamp on it.

You own your own recording studio. Do you have any stories about recording sessions in the studio that you could share?
Most of them I try to put out of my head – all of the embarrassing ones (laughs). One of the cool things about owning the recording studio is coming up with interesting sounds. If my friends and I find something that we think is percussive and can make a cool sound, like a piece of steel or a box, we’ll take it into the live room and record it just to have our own samples of our own types of percussive instruments. That’s a lot of fun – finding new sounds and sampling that and adding it to recordings. With the stuff I’m doing now, I try to make it as organic as possible. I don’t want to have any kind of programming in there. It’s the opposite approach of what I’ve done in my spare time, which is create sounds from any kind of object. But any object has it’s own pitch so it’s fun to experiment with that.


What kind of experience do you hope to give your fans when they come out to see you play?
I want to give the kind of experience that they don’t forget. I want to play material that’s going to move them in some way. That’s really the key. I often get told that I don’t have enough party songs. But that’s not really my personality. I mean, of course I like to have a good time. It’s not that I take myself too seriously, because I really don’t. I’m a jokester just like everybody else. But I feel like the music that I’m trying to portray – I want it to have a bit of weight to it. I’m not going to sing about real party-party stuff. I want to make people think with my music. I want them to enjoy that part of it as well. I think with the live show, besides having a kick-ass band and everything else, I want to play songs that people remember and songs that will affect them in a positive way. Even if it’s not about going to the party, at least it’s something that will make people feel good.

I think that my problem with the party songs in general and me performing the party songs (which I don’t really do) is that I feel like you shouldn’t have to sing about having a good time – the music should just make you have a good time. The music could be about anything. I feel like there are too many songs about songs or too many songs about music. You don’t need to sing about music – you just need to play the music and play what has inspired you to write it. It doesn’t need to be about itself. I’ve seen that trend a lot and I’d like to break that trend. There are too many songs that are about themselves.


What has been your most memorable or rewarding experience during your career in the music industry?
There are a couple of things. The first time that my picture was in Rolling Stone Magazine with my band – that was a really awesome moment. That was something that I could show my dad. If your picture is in Rolling Stone, that kind of validates it to your parents. Another one was when I got my first gold record for being on the Queen of the Damned movie soundtrack with my name on it and able to get two more for my parents. Whether you know anything about music or not, everyone knows the term “gold record.” To be able to actually have two – I was also on The Punisher soundtrack – and be able to get both of those for my parents was pretty rewarding for me.


Is there anything in particular you would like our readers to know about you?
I’m pretty opinionated, but I don’t want to offend anyone. I’m not trying to say that there’s not a place for the party song. I’m just trying to say that there’s not really a place for me within that. But I think that any fan of music is going to appreciate different styles and different subjects within the music that they listen to. I don’t know anybody that just wants to listen to party songs all day. I think that music is something that drives us all and puts us in different moods. I want to be able to set the mood for different things. But at the same time, if I have a song that reminds somebody of a bad time but then helps them heal or get through that, to me that is more important and can have a more lasting impression on somebody and can be a more rewarding experience for me when that happens.

VIDEO: Jason Charles Miller – Up To Me

Jason Charles Miller recently signed with Render Records and his new single, “Up To Me,” was sent out to country radio earlier this week. The song, a co-write by Jason with Joe Doyle, is from his upcoming album with Render. The music video was directed by A.J. Rickert-Epstein and is out now.

Check out the official music video for his single and make sure you read our interview with Jason from earlier this week. Let us know what you think about Render’s newest artist below:

Eric Church Slams Blake Shelton, Idol, The Voice

In an interview with Rolling Stone (see this picture), country music rocker Eric Church seems to get just a little carried away. Eric, who supported Miranda Lambert on her 2010 “CMT  On Tour: Revolution” headlining tour, slams Blake Shelton, American Idol, and The Voice. Eric takes a hit against American Idol and reality show television, saying that the country music industry is filled with talent from reality competitions – saying that trying out for a show like The Voice means you aren’t a true artist. In the interview, Eric says:

“It’s become American Idol gone mad. Honestly, if Blake Shelton and Cee Lo Green f—ing turn around in a red chair, you get a deal? That’s crazy. I don’t know what would make an artist do that. You’re not an artist.”

Eric wasn’t done just yet. He takes a little dig at Blake, who is a coach on the highly successful The Voice, and says that anyone who’s career depends on something outside their music then they also aren’t a real artist.

“If I was concerned about my legacy, there’s no f—ing way I would ever sit there [and be a reality-show judge]. Once your career becomes something other than the music, then that’s what it is. I’ll never make that mistake. I don’t care if I f—ing starve.”

In case that wasn’t enough, the “Country Music Jesus” singer also had a few things to say about rock fans and Lollapalooza:

“Rock & Roll has been very emo or whatever the f—. It’s very hipster. We played Lollapalooza and I was stunned at how pussy 90 percent of those bands were. Nobody’s loud. It’s all very f—-n’ Peter, Paul and Mary sh–.”

What do you think about Eric’s interview in Rolling Stone? Do you agree with him, or do you think he needs a bit of a reality check? Sound off below and get your voice heard. Read Eric’s interview for yourself in the current issue of Rolling Stone with President Obama on the cover.

Jason Charles Miller Signs With Render Records

Congratulations to the team at Render Records and Jason Charles Miller! Jason, the front man for Godhead, sold over 200,000 albums as part of the rock group but now will be taking on a solo venture and rediscovering his Virginia roots with his first release on the label due out later this year. His lead-off single “Up To Me” will be sent out to radio May 1st. His influences include country music greats Kris Kristofferson, Merle Haggard, Neil Y0ung, and Johnny Cash.

“Jason is no stranger to success or the hard work it takes to achieve it. As unique as he is, I know that Jason will fit right in with the rest of our artist roster. His music is groundbreaking, the second I heard it I not only wanted him on the label, but I became a fan. He knows who he is as an artist and his music reflects his passion and understanding of the country format and it’s diverse audience. When I look at our roster, I see different pieces of a puzzle that come together and make an amazing portrait. Not having Jason would leave us without a crucial piece of that puzzle. I am excited to have him join us at Render and help us complete our music masterpiece” says Render Records Co-Founder Steve Freeman

Jason has been featured in some of music’s top magazines such as Rolling Stone, Billboard, Guitar World and many more. His music has been featured on MTV, MTV2, Fuse and VH1. Make sure you keep your ears peeled to your local radio for his single and let us know what you think!

REVIEW: Carrie Underwood – Blown Away

Carrie Underwood first achieved crossover success in 2006 with her treatise on appropriate responses to infidelity, “Before He Cheats”. That track hit number eight on the US Billboard Hot 100 and number one on the country charts, propelling the blonde bombshell to new heights of popularity. Since then, though, she’s stuck closer to home while occasionally dipping a toe in the pop realm as with “Cowboy Casanova” and the duet “I Told You So”.

But it sounds like three straight number one records and seven years of continuous success have given her the confidence to step outside her comfort zone.

Underwood’s new album, “Blown Away”, does just that to all previous attempts at country-pop crossover. There’s some great traditional country on this release, but it’s completely overshadowed by a trio of spectacular crossover songs.

The album’s lead single, “Good Girl”, follows her previous success with the similarly themed “Cowboy Casanova”, warning girls away from bad-news men. This rock and club-infused number is catchy as all hell. A throbbing electric guitar opens the song and pulls you in, and a slightly synthed lyrical echo is perfect to sing along to. Although it’s hard to find the country in this one, the way it’s climbing the charts shows that country fans really don’t mind.

Underwood follows that with the title track – a song that will prove a landmark in country music. “Blown Away” is a dark tempest. Drums thunder, cymbals crash like lightning, rain tinkles from a piano in quieter moments, and Underwood’s voice wails like the twister in the song. The vivid instrumentals and her astonishing vocal work tell the story at least as much as the lyrics. The mood is set for the darkest song the American Idol winner has ever performed. It’s “The Thunder Rolls” for a new generation, only more intense. And although there’s nothing to mark it as a country song, it’s a stunning piece of music that can’t help but impress.

“Two Black Cadillacs” is similarly dark and dramatic, evoking the smouldering anger of the women inside the eponymous Caddys – “One is for his wife/the other for the woman who loved him at night”. The song is subtler only compared to the previous track, but does come across more brooding – think “The Night the Lights Went Out in Georgia”, with Carrie’s smooth, pitch-perfect singing.

The latter two songs turn a page for Underwood, who, to date, hasn’t tried anything nearly so adventurous. The result isn’t just refreshing; it’s exceptional.

The album’s mood lifts considerably after that stormy interlude. “See You Again” would have been a hit for Shania Twain ten years ago. The Oklahoma native does the song great justice with her dynamic and uplifting voice, and at times it feels like her early single, “Some Hearts”. Next she reminisces about young love in the enjoyable “Do You Think About Me”.

“Forever Changed” is a soft piano-backed ballad about the challenges of Alzheimer’s. It feels a little out of place so quickly after its powerful predecessors, but it is a sweet song that will find a loyal following.

The singer then reassures teenage girls in “Nobody Ever Told You”, a song in the vein of Martina McBride’s “This One’s for the Girls”, before taking off for spring break in “One Way Ticket”. This Caribbean-infused ditty has more than a hint of a Jimmy Buffett attitude.

It’s around here that you realize that Carrie has a much more refined capability than in previous efforts. Where in the past her dominant voice has threatened to overpower both the studio band and your speakers, she seems in more control now, softening and nuancing her voice as much as needed. That’s experience. The evolution makes her one of the best singers in popular music today.

Underwood goes on to pay tribute to her roots with “Thank God for Hometowns”, where she finds rejuvenation every time she goes back. That’s followed by the post-breakup “Good In Goodbye”. The singer makes peace with the past, having recognized the incompatibility, moved on, and presumably having found happiness.

A strumming acoustic guitar gives “Leave Love Alone” a contemporary country feel more than any other song on the disc. It’s a simple, likeable little number that will undoubtedly chart if it’s released as a single. It’s refreshing to hear Carrie in a pure country song. It may not make full use of her range as a singer, but every now and then you just want to hear a good tune with a solid hook. She delivers that here.

“Cupid’s Got a Shotgun” is another fun piece, with a fast-paced Brad Paisley-style guitar line – which makes sense. Paisley plays the instrument for this slightly redneck track. The pair seems to like working together. They also hosted the CMA Awards for the fourth time in 2011, and their duet, “Remind Me”, hit number one on the country music charts last fall.

After the bitter “Wine After Whiskey”, about a relationship gone south, Underwood closes the album with another Shania-esque track in “Who Are You”. Her voice soars in this religious anthem, which, not coincidentally, was penned by Twain’s former producer and ex-husband, Mutt Lange.

“Blown Away” is the most diverse and exciting album that Carrie Underwood has released to date. It’s got the Dear Carrie advice column, the contemporary country sound, the redneck feel, the faith-based anthem, and the electrifying crossover hits. With her newfound vocal control and nuance, there’s no sound she can’t tackle, and it’s all on show in the album’s 14 tracks.

Expect “Good Girl”, “Blown Away”, “Two Black Cadillacs”, and probably “Leave Love Alone” to rocket up the charts upon their release as singles. The title track is a contender to top the Billboard Hot 100, too – it’s that good. As for the album…number one on the charts won’t be enough. This is an award-winner.

Will The Voice Take American Idol’s Crown?

Looks like some change is a bit too much for viewers. American Idol, which has been the number one television program on tv for nearly a decade, lost numbers this week during the premiere of its 11th season. They dropped more than 17 percent viewership to 21.6 million viewers on Thursday evening. While that might not make producers nervous, this next stat will: they dropped more than 24 percent in ratings for viewers between the ages of 18 to 49-years old. That’s the audience group that advertisers cater to during the program.

Even with the drop, FOX says that American Idol was still the most-watched program on both nights this week. American Idol lost two of its original judges over the last few seasons – Simon Cowell and Paula Abdul – who now judge the X-Factor.

This leaves the question… will NBC’s The Voice come in to steal the crown? While The Voice only scored 11.78 million viewers during its premiere episode last year; they’re premiering their second season immediately following the Super Bowl on NBC this year. It’s a no-brainer to expect The Voice’s ratings to skyrocket, which will also air an ad during the Super Bowl featuring all four coaches: Blake Shelton, Adam Levine, Christina Aguilera and Cee-Lo Green.The Voice’s second season will overlap with American Idol: so it’s up to viewers to decide. What’s interesting is that The Voice aired ads in Canada during the American Idol premiere this week on CTV.

Read how FOX reacted to a recent The Voice announcement below:

FOX’s producers might be feeling the competition between the programs. The Voice recently announced the addition of original American Idol winner Kelly Clarkson to help out Team Blake alongside Miranda Lambert as advisers during the Battle Round. In an interview last week, FOX president of Alternative Entertainment Mike Darnell said:

“We’re not hiring a lot of people from ‘The Voice’ to be on our show.”

There’s a good chance The Voice could steal the reality television crown from American Idol this season if trends stay the same. With a superstar line-up added to The Voice, and American Idol starting to go stale, it’s going to be a race to the finish.

Which program are you looking forward to watching this season? Get your voice heard below:

Which singing competition do you think will be #1 this year?

Jason Charles Miller Is Feeling A Little “Uncountry” Today

Jason Charles Miller is out to prove that Los Angeles can be just as country as Nashville in his debut solo album, “Uncountry,” out today. The album was written and recorded in both Los Angeles and frequent trips to Nashville to write for the Godhead frontman. He wrote or co-wrote every track on the 10-song record. The album features collaborations with Bart Almond (Brooks & Dunn), Kris Burgness (Tim McGraw), Jon Nite (Blake Shelton, Chris Young), and Chuck Goff (Toby Keith). Special guests lending their talents on the record also include “Cowboy” Eddie Long (Jamey Johnson, Hank Williams Jr.), Jim “Moose” Brown (Brad Paisley, Blake Shelton), and Adam Shoenfeld (Big & Rich, Jason Aldean).

The first single from the record is the title track “Uncountry.” The music video stars Mythbusters’ Grant Imahara and actress Angie Savage.

Jason’s solo career was launched on the HBO series “True Blood” where he performed his single “You Get What You Pay For.” The track is currently in production for a future appearance on the Rockband video games.

Jason has landed opening spots for Eric Church, Toby Keith, Gary Allan and Justin Moore over the last year. He’ll be celebrating the release of his album this week at a CD release party in L.A.

The album is available everywhere now in both digital and physical formats.