Charlie Peacock. Photo: Jeremy Cowart
Few artists can claim a career as diverse and impactful as Charlie Peacock. With a résumé spanning jazz, gospel rock, folk, pop, Americana and beyond, he’s spent five decades shaping the musical landscape, both as an artist and a producer behind some of the most influential records of the last 40 years. Now, with the release of his memoir, Roots & Rhythm: A Life in Music, Peacock offers an intimate, deeply personal look at the journey that brought him here.
Published via Wm. B. Eerdmans in February, Roots & Rhythm isn’t just a chronological account of accolades and accomplishments. Instead, Peacock weaves a literary tapestry that explores his ancestral, musical and spiritual roots. The book has already made waves, landing in the Top 5 of multiple Amazon music categories, and for good reason: it’s a story that extends far beyond music, touching on themes of faith, creativity, reinvention and resilience.
A fourth-generation musician, Peacock’s great-grandfather was a Louisiana fiddler, an early thread in the expansive musical fabric he would later stitch together. His own journey began with a love of jazz, honed under the mentorship of legends like Herbie Hancock. From there, his career took an unpredictable turn—discovered in northern California’s punk and pop underground by industry giants Bill Graham and Chris Blackwell, Peacock soon became a key figure in the rise of gospel rock in the 1980s.
His production work has defined multiple genres, from the soaring anthems of Switchfoot to the haunting harmonies of The Civil Wars. His contributions to film and television—such as 12 Years a Slave and A Walk to Remember—have further cemented his reputation as an artist with a singular vision.
“Well, that’s just in my blood,” Peacock says when asked about his multi-genre mastery. “That’s what I grew up with in my home and as a young musician in northern California. The very first thing we learned to play was the blues. If you were a working musician as a teenager there, you were playing every form of Black American music—modern jazz, funk and all points in between.
“Then there was the whole singer-songwriter era of my teenage years—Paul Simon, Jackson Browne, James Taylor—and my North Stars in jazz were Miles Davis and John Coltrane. So all of that just made me eclectic.”
But Peacock’s memoir isn’t just about the music; it’s about how the music was made. In Roots & Rhythm, he approaches storytelling much like he approaches making music—blending keen observation with emotional depth. Figures like beat poet Gary Snyder, evangelist Billy Graham and producer T Bone Burnett make appearances, creating a sweeping narrative where literature, faith and music collide. Throughout his career, Peacock has navigated the complexities of faith in the music industry, balancing artistic integrity with spiritual conviction.
He has never been one to fit neatly into labels—whether in genre or theology. His influences extend beyond the Bible Belt, drawing from European Christian thinkers like C.S. Lewis and the philosophical roots of ministries such as L’Abri in Switzerland. In Roots & Rhythm, Peacock reflects on how this perspective shaped his approach to music and creativity, rejecting a purely pragmatic view of art in favor of beauty for beauty’s sake.
“When I was a very young follower of Christ, I did a lot of reading and thinking about what it meant to be fully a disciple of Christ, but always fully an artist too. So I didn’t have a pragmatic view of art—I felt like art was meant to be allowed to just do its thing.
“I was never someone who thought, ‘Well, this music is useful because we can use it for evangelism.’ I definitely rebelled against the idea that something is only good if it’s useful,” Peacock says. “To me, nature itself is both useful and beautiful, and I’ve always followed that. At the end of the day, if I have no idea how something will be used but I think it’s beautiful, I’m completely content with that.”
That philosophy has guided his career, allowing him to cross musical boundaries with ease. From jazz to pop, gospel to folk, his work remains unified by a deep respect for the creative process itself. Even as his career reached new heights, life threw unexpected challenges his way. In 2017, Peacock was diagnosed with Dysautonomia and Central Sensitization, a disorder affecting the brain and central nervous system. His once-relentless pace came to a halt, forcing him to focus entirely on recovery. But even in the midst of illness, music remained a lifeline.
“There was something about the brain on music—it took my attention away from the intense pain I was in. It was as if it sort of said, ‘You need to go away for a bit, we’re busy making something.’ And it was pretty phenomenal because when I would stop making music, the pain would surge forward again. So for a while, every waking hour when I wasn’t sleeping, I was in my bonus room making music—every kind of music. That was a saving grace for me.”
During his treatment, Peacock continued to create, collaborating with artists around the world and finding new ways to channel his passion. That resilience is evident in both his memoir and his most recent album, Every-Kind Of Uh Oh, co-produced with his son, Sam Ashworth. The record, released in 2024, marks a return to the core influences that first inspired him—classic singer-songwriters, jazz and gospel—offering a reflective companion piece to Roots & Rhythm.
At its heart, Roots & Rhythm is more than just a memoir—it’s an invitation. Peacock encourages readers, particularly aspiring musicians, to embrace the rhythms of their own lives, to let music and faith lead them toward gratitude and wonder. His journey is a testament to the power of reinvention, of pushing past limitations and of staying true to the art that calls you.
“I’m always listening—paying attention not just to my life, but to the community around me, looking for signs and symbols of direction. Some people need chaos to create, others need solitude. For me, it’s about staying open, being willing to follow where the music and life want to take me next.”
From his early days as a jazz prodigy to his pioneering work in folk and Americana, from Grammy-winning productions to deeply personal songwriting, Peacock’s story is one of boundless creativity and unwavering passion. With Roots & Rhythm, he shares not just the highlights, but the lessons learned along the way—offering a guide for those willing to listen. And for Peacock, as always, it’s all part of the same song.
Charlie Peacock Reflects On Five Decades Of Music & Meaning In New Memoir [Interview]
/by LB CantrellCharlie Peacock. Photo: Jeremy Cowart
Few artists can claim a career as diverse and impactful as Charlie Peacock. With a résumé spanning jazz, gospel rock, folk, pop, Americana and beyond, he’s spent five decades shaping the musical landscape, both as an artist and a producer behind some of the most influential records of the last 40 years. Now, with the release of his memoir, Roots & Rhythm: A Life in Music, Peacock offers an intimate, deeply personal look at the journey that brought him here.
Published via Wm. B. Eerdmans in February, Roots & Rhythm isn’t just a chronological account of accolades and accomplishments. Instead, Peacock weaves a literary tapestry that explores his ancestral, musical and spiritual roots. The book has already made waves, landing in the Top 5 of multiple Amazon music categories, and for good reason: it’s a story that extends far beyond music, touching on themes of faith, creativity, reinvention and resilience.
A fourth-generation musician, Peacock’s great-grandfather was a Louisiana fiddler, an early thread in the expansive musical fabric he would later stitch together. His own journey began with a love of jazz, honed under the mentorship of legends like Herbie Hancock. From there, his career took an unpredictable turn—discovered in northern California’s punk and pop underground by industry giants Bill Graham and Chris Blackwell, Peacock soon became a key figure in the rise of gospel rock in the 1980s.
His production work has defined multiple genres, from the soaring anthems of Switchfoot to the haunting harmonies of The Civil Wars. His contributions to film and television—such as 12 Years a Slave and A Walk to Remember—have further cemented his reputation as an artist with a singular vision.
“Well, that’s just in my blood,” Peacock says when asked about his multi-genre mastery. “That’s what I grew up with in my home and as a young musician in northern California. The very first thing we learned to play was the blues. If you were a working musician as a teenager there, you were playing every form of Black American music—modern jazz, funk and all points in between.
“Then there was the whole singer-songwriter era of my teenage years—Paul Simon, Jackson Browne, James Taylor—and my North Stars in jazz were Miles Davis and John Coltrane. So all of that just made me eclectic.”
But Peacock’s memoir isn’t just about the music; it’s about how the music was made. In Roots & Rhythm, he approaches storytelling much like he approaches making music—blending keen observation with emotional depth. Figures like beat poet Gary Snyder, evangelist Billy Graham and producer T Bone Burnett make appearances, creating a sweeping narrative where literature, faith and music collide. Throughout his career, Peacock has navigated the complexities of faith in the music industry, balancing artistic integrity with spiritual conviction.
He has never been one to fit neatly into labels—whether in genre or theology. His influences extend beyond the Bible Belt, drawing from European Christian thinkers like C.S. Lewis and the philosophical roots of ministries such as L’Abri in Switzerland. In Roots & Rhythm, Peacock reflects on how this perspective shaped his approach to music and creativity, rejecting a purely pragmatic view of art in favor of beauty for beauty’s sake.
“When I was a very young follower of Christ, I did a lot of reading and thinking about what it meant to be fully a disciple of Christ, but always fully an artist too. So I didn’t have a pragmatic view of art—I felt like art was meant to be allowed to just do its thing.
“I was never someone who thought, ‘Well, this music is useful because we can use it for evangelism.’ I definitely rebelled against the idea that something is only good if it’s useful,” Peacock says. “To me, nature itself is both useful and beautiful, and I’ve always followed that. At the end of the day, if I have no idea how something will be used but I think it’s beautiful, I’m completely content with that.”
That philosophy has guided his career, allowing him to cross musical boundaries with ease. From jazz to pop, gospel to folk, his work remains unified by a deep respect for the creative process itself. Even as his career reached new heights, life threw unexpected challenges his way. In 2017, Peacock was diagnosed with Dysautonomia and Central Sensitization, a disorder affecting the brain and central nervous system. His once-relentless pace came to a halt, forcing him to focus entirely on recovery. But even in the midst of illness, music remained a lifeline.
“There was something about the brain on music—it took my attention away from the intense pain I was in. It was as if it sort of said, ‘You need to go away for a bit, we’re busy making something.’ And it was pretty phenomenal because when I would stop making music, the pain would surge forward again. So for a while, every waking hour when I wasn’t sleeping, I was in my bonus room making music—every kind of music. That was a saving grace for me.”
During his treatment, Peacock continued to create, collaborating with artists around the world and finding new ways to channel his passion. That resilience is evident in both his memoir and his most recent album, Every-Kind Of Uh Oh, co-produced with his son, Sam Ashworth. The record, released in 2024, marks a return to the core influences that first inspired him—classic singer-songwriters, jazz and gospel—offering a reflective companion piece to Roots & Rhythm.
At its heart, Roots & Rhythm is more than just a memoir—it’s an invitation. Peacock encourages readers, particularly aspiring musicians, to embrace the rhythms of their own lives, to let music and faith lead them toward gratitude and wonder. His journey is a testament to the power of reinvention, of pushing past limitations and of staying true to the art that calls you.
“I’m always listening—paying attention not just to my life, but to the community around me, looking for signs and symbols of direction. Some people need chaos to create, others need solitude. For me, it’s about staying open, being willing to follow where the music and life want to take me next.”
From his early days as a jazz prodigy to his pioneering work in folk and Americana, from Grammy-winning productions to deeply personal songwriting, Peacock’s story is one of boundless creativity and unwavering passion. With Roots & Rhythm, he shares not just the highlights, but the lessons learned along the way—offering a guide for those willing to listen. And for Peacock, as always, it’s all part of the same song.
Ian Munsick Becomes First Wyoming Native To Headline Cheyenne Frontier Days
/by Lorie HollabaughIan Munsick will become the first Wyoming native to headline Cheyenne Frontier Days on July 18, fulfilling a lifelong dream of his.
The show was booked after a group of fans started a Facebook page petitioning for Munsick to headline CFD in response to his Red Rocks show, and the page caught the eye of Wyoming paper Cowboy State Daily, who published a story sharing the fans’ pleas. Tickets will go on sale March 13 at CFDRodeo.com.
“The zenith of my musical ambition has always been to headline Cheyenne Frontier Days. No event symbolizes Wyoming or the west better than the Daddy of Em All,” remarks Munsick. “That’s where my music belongs because that’s where my inspiration comes from. The great honor of being the first Wyoming native to headline CFD is most definitely the highlight of my touring career and quite possibly my musical career as a whole… truly a once in a lifetime opportunity. It will be a night I will never forget.”
Munsick’s CFD headlining set will follow the April 18 release of his upcoming third studio album, Eagle Feather, which expands on the concepts of the land, people, culture and stories that inspire him, as depicted in his 2023 release, White Buffalo. While the white buffalo represents prosperity and rebirth, the eagle feather is inspired by the native symbol representing honor, strength and wisdom, and serves as a continuation of his sophomore project by highlighting Munsick’s personal growth through life experiences and lessons learned that have shaped him into who he is.
Eagle Feather includes duets with Lainey Wilson and Flatland Cavalry lead singer Cleto Cordero, with songwriter credits by fellow singer-songwriters Caitlyn Smith and Stephen Wilson Jr. as well as two rare outside cuts in “Drink Around” and “Horses Not Hearts.”
Munsick is currently headlining his spring 2025 “Horses Are Faster Tour” featuring a rotating lineup of support including Colby Acuff, Avery Anna, Chayce Beckham, Bayker Blankenship, Kashus Culpepper, Hudson Westbrook and Jake Worthington.
Onoleigh Wrangles Heartbreak On Debut EP ‘First Rodeo’ Due March 14
/by Lorie HollabaughOnoleigh. Photo: Logen Christopher
Onoleigh is galloping onto the country scene with the release of her debut EP, First Rodeo, dropping March 14.
First Rodeo is the sound of turning pain into power, blending modern country with pop production. The five-track genre-bending fusion project is produced by Emile Ghantous (Pitbull, Boyz II Men, Fifth Harmony) and co-written with Onoleigh, Ghantous, Josh Goode, Sam SZND and Ally Sou. From grieving the loss of the future she imagined with her love in “Bottomless Tears” to embracing a new beginning in the title track, the EP guides the listener through every stage of a breakup, moving between vulnerability and self-assurance. At the core of the project lies the title track, an anthem brimming with confidence.
“This EP is all the different sides of me—the hopeless romantic, the girl crying on the bathroom floor, and the one walking away like a total badass,” shares Onoleigh. “I think anyone who’s ever had their heart broken will find a song that feels like their own.”
In celebration of the new project, Onoleigh will play an EP release show at Analog at the Hutton Hotel in Nashville March 13.
First Rodeo Track List:
1. “Higher Standards”
2. “Drink And Cry”
3. “OK Later”
4. “Bottomless Tears”
5. “First Rodeo”
MusicRow Weekly (News, Charts, More…)
/by MusicRow StaffThis week’s edition of The MusicRow Weekly is packed with major industry moves, milestone celebrations and exciting events on the horizon for Nashville. Click here to see the full edition.
Rachel Whitney has exited her role as Head of Editorial, Nashville at Spotify, announcing plans for a sabbatical. Whitney joined the company in 2020, leading the Nashville-based editorial team through a transformative period for streaming and playlist curation.
Sony Music Nashville & Provident Entertainment has tapped Lauren Kilgore as Senior Vice President, Legal and Business Affairs, effective immediately. Kilgore brings years of expertise in entertainment law to her new role, where she will oversee legal and business strategy for the label group. Jody Williams Songs (JWS) is celebrating its fifth anniversary with two key promotions. Nina Jenkins Fisher has been elevated to Vice President/General Manager, while Tenasie Courtright steps into the role of Creative Director.
Peachtree Entertainment has expanded its leadership team with the addition of Marty Elliott as Vice President of University Relations and Andrew Goldberg as Vice President of Strategic Partnerships.
A longtime presence in the business management sector, Becky Harris has rebranded her firm under the new name Harris, Huelsman, Barnes & Company. The transition follows the recent retirement of CPA Donna Huskins, who focused on tax services for the company’s clientele. Now led by Harris and her new Principals, John Huelsman and Morgan Barnes, the firm remains a trusted partner for artists and executives navigating financial strategy.
The legacy of Randy Travis is set to be honored in a new film, Forever And Ever, Amen, celebrating the country icon’s life and career. Meanwhile, Nashville is gearing up to welcome its first-ever Professional Rodeo Cowboy’s Association event, as the Music City Rodeo makes its debut at Bridgestone Arena on May 29-31.
Country superstar Luke Combs will finally take his place among Nashville’s greats when he is inducted into the Music City Walk of Fame on March 20. Originally scheduled for last fall, his induction was postponed due to a scheduling conflict, but the moment will be well worth the wait for fans and industry peers alike.
This week’s My Music Row Story features insightful conversations with two influential women in the industry: Amazon Music’s Michelle Tigard Kammerer and Warner Chappell Music’s Jessi Vaughn Stevenson. Their interviews dive into their journeys, career highlights and perspectives on the evolving music landscape.
In addition, the latest MusicRow CountryBreakout Radio Chart is included. Zach Top notches another week at No. 1 this week with “I Never Lie.” Explore more chart data here.
MusicRow Weekly is delivered every Friday, featuring Nashville’s top music industry news, exclusive interviews, song reviews, radio and songwriter charts and more. Sign up for free here.
Chase Rice Shares Tracks From Chief’s Acoustic Shows On ‘Live From Chief’s’
/by Lorie HollabaughChase Rice surprised fans with the release of a special three-song EP, Live From Chief’s.
Captured during his recent acoustic shows at Chief’s on Broadway in Nashville on Feb. 13-14, the project highlights Rice’s unfiltered artistry in a way that fans rarely get to experience at larger arena shows. The project opens with standout covers of Eric Church’s “Carolina” (one of the first songs Rice was inspired to learn to play on guitar during his college years at UNC), and George Strait’s iconic rodeo hit “I Can Still Make Cheyenne,” which itself inspired the EP’s third song.
The previously unreleased “Cowboy Goodbye,” a yearning song co-written by Rice with Oscar Charles and Foy Vance during a recent post-Red Rocks retreat in Colorado, reflects on the sacrifices that come with the pursuit of music and serves as a pivotal moment for his next studio album Eldora, expected later this year.
“I love my life; I love my job; I love what I get to do for a living – but I’ve given up a lot to do it,” Rice shares in the live recording’s introduction, reflecting on the personal parallels between the life of a touring musician and that of a true cowboy. “I don’t have a family yet – that’s the goal – but that’s one of the main things that I’ve given up to do this thing… Since I was a little kid, I always wore the cowboy boots, I always wore the cowboy hat and the cowboy way of life was always just kind of in my mind.”
TobyMac Walks Through The Valley To Get To ‘Heaven On My Mind’
/by Lorie HollabaughTobyMac has released his ninth studio album, Heaven On My Mind, today (March 7), along with the title track’s lyric video.
On the 12-track project, he navigates the intersection of suffering and awe, discovering moments of joy amid the pain. He channels the heartache of losing his firstborn son into relatable, hope-infused music. However, it’s his reflections on eternity that ultimately shape Heaven On My Mind. The album isn’t simply a perspective shift, it’s a changing of seasons as a very long winter turns into spring.
“Heaven On My Mind is this journey of going from total ashes to crawling to walking to standing up. It was me figuring out how to relate to God again, leading to all these questions, and ultimately something beautiful,” he reflects. “I have a deeper relationship with God than I’ve ever had, because I walked through the valley with Him, and I decided I trusted Him.”
TobyMac has been giving concertgoers a taste of his upcoming album, including an acoustic performance of his latest hit, “A lil Church (nobody’s too lost),” which is currently climbing the Top 20 at Mediabase AC. He’s also been showcasing an energized live rendition of his chart-topping lead single, “Nothin’ Sweeter,” with the original version spent nine weeks at No. 1. Heaven On My Mind follows his 2022 Dove Award-winning album Life After Death, which debuted at No. 1 on Billboard’s Christian Albums chart and earned five No. 1 hits.
The hitmaker is currently touring across the country on this year’s 32-date “Hits Deep Tour,” which also features Crowder, CAIN, Ryan Stevenson and Terrian.
1. “Heaven On My Mind”
2. “Lord It Feels Good”
3. “Rearview” (with Juan Winans)
4. “God Did It”
5. “A lil Church (nobody’s too lost)”
6. “Resist (Keep The Devil Away)” (with Terrian)
7. “Been Through It”
8. “Can’t Stop Me”
9. “Nothin’ Sweeter”
10. “Oh My Soul (Psalm 103)”
11. “Campfire (That Very Love)”
12. “Goodbye (for Gabe)”
Bobby Bones & The Raging Idiots Host Eighth Annual Million Dollar Show For St. Jude
/by Lorie HollabaughSt. Jude patient Sully with Bobby Bones. Photo: Lily Nelson
Bobby Bones & The Raging Idiots held their sold-out, eighth annual Million Dollar Show at the Ryman Auditorium on March 4, raising $221,000 for St. Jude Children’s Research Hospital.
O-Town and Bobby Bones. Photo: Mick Bodie
Known for their annual star-studded and surprise-filled roster, this year’s lineup included performances by Bobby Bones & The Raging Idiots, Miranda Lambert, O-Town, Bailey Zimmerman, Tracy Lawrence, Clint Black, George Birge, The Castellows and Iris Copperman.
Fans were treated to several surprise guests throughout the evening, with Matt Stell opening the show with “I Prayed For You,” and Maddie & Tae surprising fans with “Die From A Broken Heart” and “Cowboy Songs.” Russell Dickerson then revved up the crowd with his infectious energy, performing his hits “Blue Tacoma,” and “Yours,” along with his new single “Happen To Me.” Rock band Lit also performed their hits “My Own Worst Enemy” and “Miserable,” and the Turnpike Troubadours took the stage to perform “Diamonds & Gasoline” and “Good Lord Lorrie.”
The all-star night ended with a bang, as Lambert got fans on their feet with a boot-stomping version of her songs “Bluebird” and “Kerosene.” And as a final surprise, Bones welcomed Post Malone to the stage as the closing act, making his unofficial Ryman debut performing Hank Wiliams’ “Honky Tonk Blues” and his single “Stay.”
Since 2014, Bones and The Bobby Bones Show have raised over $27 million to help kids fight cancer and life-threatening diseases. Bones will host Music Night Live March 8 at 7 p.m. CT, giving viewers the chance to experience a Nashville Writer’s Round with an exclusive live broadcast from Nashville with stories and songs from award-winning songwriters.
Miranda Lambert and Bobby Bones. Photo: Reid Yarberry
Russell Dickerson. Photo: Mick Bodie
Bailey Zimmerman and Bobby Bones. Photo: Mick Bodie
George Birge. Photo: Mick Bodie
The Castellows. Photo: Mick Bodie
National Museum Of African American Music Adds Two Board Members
/by Lorie HollabaughMozianio S. Reliford, III (“Trey”) and Calvin Dunning, II
The National Museum of African American Music has appointed Calvin Dunning II and Mozianio Reliford III (“Trey”) to its board of directors.
Dunning will serve on NMAAM’s R&B Foundation Committee and Reliford will serve on NMAAM’s Black Music Month + Leadership Search Committees. Their leadership will support NMAAM’s mission to preserve and celebrate African American music while expanding community engagement and strategic initiatives.
Reliford is a trial attorney and shareholder at Polsinelli PC, specializing in securities litigation, mergers and acquisitions litigation, and sports and entertainment law. A native of Strawberry Plains, Tennessee, he graduated magna cum laude from Sewanee: The University of the South in 2010 with a degree in history and political science. Reliford’s legal career includes serving as a law clerk for Chief Justice Jeffrey S. Bivins of the Tennessee Supreme Court, as well as working at Paul, Weiss and Neal & Harwell PLC.
Dunning serves as senior vice president and director of community development at FirstBank. His career began in capital markets as a pricing manager before transitioning into compliance and ultimately community development in 2022. A University of Alabama graduate, Dunning earned a degree in international finance with a concentration in Spanish and a minor in economics. He was recently named to Nashville Business Journal’s Top 40 Under 40 for 2025.
“The addition of Calvin Dunning and Mozianio Reliford to our Board of Directors strengthens our commitment to financial stewardship and strategic growth,” says Chair of the Board of Trustees at NMAAM Stacy Koju. “Calvin’s expertise in community development and financial access, combined with Mozianio’s legal acumen and advocacy, will help guide NMAAM as we expand our impact and reach new audiences.”
CMT Reveals Next Women Of Country Class Of 2025
/by LB CantrellCMT has revealed the seven artists joining its Next Women of Country (NWOC) franchise, the brand’s initiative to support and promote emerging female talent
The CMT Next Women of Country: Class of 2025 includes Alexandra Kay, Dasha, Kaitlin Butts, Kat Luna, Lanie Gardner, Meghan Patrick and MŌRIAH.
Launched in 2013, the Next Women of Country campaign has become a leading platform for rising female artists in the genre, featuring digital series and nationwide tours with stars like Jennifer Nettles, Martina McBride, Sara Evans, Tanya Tucker and Maddie & Tae. The franchise celebrated its 10th anniversary last year.
Throughout the year, the 2025 class will receive cross-brand support, including features on CMT, CMT Music, PlutoTV’s CMT Equal Play channel, CMT Hot 20 Countdown, social media, curated playlists and the Paramount NYC Times Square Billboard.
Lauren Alaina (NWOC class of 2014) surprised this year’s inductees at CMT Studios, where she shared the news and discussed their journeys. The interviews will air during a special CMT Hot 20 Countdown on March 8 and 9 at 9 a.m. ET/8 a.m. CT. CMT will also highlight the new class throughout the week with an all-female video rotation and Times Square promotions.
New Ray Stevens Project ‘Say Whut?’ Out Now
/by Lorie HollabaughRay Stevens has released his latest album, Say Whut?, available today via CabaRay Records and Curb Records.
The eleven-track album packed with Stevens’ trademark humor includes songs such as “The Boom-Boom Gentlemen’s Club” and “Since Bubba Changed His Name To Charlene.” Other tracks include “If It Walks Like A Duck,” “I Dropped My Wallet In The Toilet,” “Everybody’s On The Telephone” and “The More You Cry,” among others
Although Stevens has finished his live performances at his Nashville-based CabaRay Showroom, the Country Music Hall of Famer has no intention of retiring from recording. “I just finished this album of eleven original songs,” he explains. “It’s called Say Whut? and I think you’re gonna like it!”
Two-time Grammy winner Stevens has spanned the generations with over 60 years of comedic musical talent, including songs such as his multi-million selling hit “The Streak” and his classic pop standard “Everything Is Beautiful.” Throughout his career, Stevens has sold more than 40 million albums, amassing millions of fans worldwide. He is a member of the Country Music Hall of Fame, the Nashville Songwriters Hall of Fame, the Musicians Hall of Fame, the Georgia Music Hall of Fame and has a star on the Music City Walk of Fame.
2. “If It Walks Like A Duck”
3. “Put Your Old Boyfriend’s Name Right Here”
4. “I Dropped My Wallet In The Toilet”
5. “Since Bubba Changed His Name To Charlene”
6. “Cupholders”
7. “Where Are All The Twelve Year Olds”
8. “A Boy Fell From A Tree”
9. “Everybody’s On The Telephone”
10. “Don’t Be Woke”
11. “The More You Cry”