GNU GENERAL PUBLIC LICENSE Version 2, June 1991 Copyright (C) 1989, 1991 Free Software Foundation, Inc. 51 Franklin St, Fifth Floor, Boston, MA 02110, USA Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. Preamble The licenses for most software are designed to take away your freedom to share and change it. By contrast, the GNU General Public License is intended to guarantee your freedom to share and change free software--to make sure the software is free for all its users. This General Public License applies to most of the Free Software Foundation's software and to any other program whose authors commit to using it. (Some other Free Software Foundation software is covered by the GNU Library General Public License instead.) You can apply it to your programs, too. When we speak of free software, we are referring to freedom, not price. Our General Public Licenses are designed to make sure that you have the freedom to distribute copies of free software (and charge for this service if you wish), that you receive source code or can get it if you want it, that you can change the software or use pieces of it in new free programs; and that you know you can do these things. To protect your rights, we need to make restrictions that forbid anyone to deny you these rights or to ask you to surrender the rights. These restrictions translate to certain responsibilities for you if you distribute copies of the software, or if you modify it. For example, if you distribute copies of such a program, whether gratis or for a fee, you must give the recipients all the rights that you have. You must make sure that they, too, receive or can get the source code. And you must show them these terms so they know their rights. We protect your rights with two steps: (1) copyright the software, and (2) offer you this license which gives you legal permission to copy, distribute and/or modify the software. Also, for each author's protection and ours, we want to make certain that everyone understands that there is no warranty for this free software. If the software is modified by someone else and passed on, we want its recipients to know that what they have is not the original, so that any problems introduced by others will not reflect on the original authors' reputations. Finally, any free program is threatened constantly by software patents. We wish to avoid the danger that redistributors of a free program will individually obtain patent licenses, in effect making the program proprietary. To prevent this, we have made it clear that any patent must be licensed for everyone's free use or not licensed at all. The precise terms and conditions for copying, distribution and modification follow. GNU GENERAL PUBLIC LICENSE TERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND MODIFICATION 0. This License applies to any program or other work which contains a notice placed by the copyright holder saying it may be distributed under the terms of this General Public License. The "Program", below, refers to any such program or work, and a "work based on the Program" means either the Program or any derivative work under copyright law: that is to say, a work containing the Program or a portion of it, either verbatim or with modifications and/or translated into another language. (Hereinafter, translation is included without limitation in the term "modification".) Each licensee is addressed as "you". Activities other than copying, distribution and modification are not covered by this License; they are outside its scope. The act of running the Program is not restricted, and the output from the Program is covered only if its contents constitute a work based on the Program (independent of having been made by running the Program). Whether that is true depends on what the Program does. For The Country Record | not your average country music blog | Page 2
Aug
20

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Lydia Loveless ‘Real’ – Album Review

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The first time I heard “Bilbao” from Lydia Loveless’ new album ‘Real,’ it was like I was hearing a voice repeating inside my head. As I felt the emotions swelling, I could hear the whispered line from 10cc’s great pop song “I’m Not In Love” repeating “Big boys don’t cry… big boys don’t cry.” The reverie puts you in a trance and when things come to a climactic bridge, her voice soars to majestic heights, wrapped around a wall of sound that feels like she’s reaching the pinnacle of her career. And when she comes back with a killer one-lite fade out, it just about does you in, in a few spectacular minutes that sum up all the attributes of the great expansiveness of ‘Real.’ I just cried inside – I admit it.

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Aug
20

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Dolly Parton @ Verizon Arena, Little Rock, AR | August 13, 2016 – Review

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Dolly Parton at the Verizon Arena in Little Rock, Arkansas on August 13th, 2016. Photo courtesy of Tracy Dardenne.

Written by Michelle Ivey

The first time I saw Dolly Parton in concert was 11 years ago at Dollywood. It was, in fact, my first concert ever. So when Dolly announced she was coming back to Arkansas (a place she hasn’t been since 2008), I immediately knew I wanted to be there.

I arrived and settled into my seat in the lower bowl of the arena, with a decent view of the stage. After a few minutes of making sure I had everything I needed, I ran to the front row before the show started, to ask some of the people who met Dolly some questions.

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Aug
16

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Dolly Parton ‘Pure and Simple’ – Album Review

Pure and Simple

Reviewing your all-time favorite artist can sometimes produce a crisis of confidence. On the one hand, you know you are biased to love everything that artist produces, while on the other, you know you have incredibly high standards for anything new that arrives. It can therefore be nerve-wracking when new music is released, leading to disappointment as often as automatic adoration. No artist can continue on an upward trend of quality because no artist is perfect, and such contemplation can also leave the reviewer tangled up in judging the validity of their own reactions.

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Jul
22

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FEATURED: Acoustic Journey ‘Get Back Up’ EP

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There are two sides to the UK country music scene. There are the acts that are signed to major labels, or at least close to it, touring substantially inside and outside the UK, playing festivals and even appearing on television. Such acts include The Shires, Ward Thomas, Jess and The Bandits and Sasha McVeigh. However, there is also a quickly growing scene of homegrown songwriters and musicians who are making a decent part-time living playing small local venues around the UK, releasing EPs to iTunes and to sell at shows, and engaging in a rough-and-ready DIY collective that puts them on the same level as their fans. One of these such acts is Acoustic Journey, an all-male three-piece from Northamptonshire. Between Andrew Jones (lead vocals, rhythm guitar), Ben Gurney (songwriting, lead guitar, harmonies) and Andy Sammons (harmonies, cajon), the trio provide sparse, acoustic-orientated arrangements set to easy-rolling songs touching on love, heartbreak, and the realities of a simple working class lifestyle.

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Jul
8

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Stray Plectrums – July 8

As all you good folks know, For The Country Record is in a self-imposed hibernation. That doesn’t mean we’ve stopped posting entirely, however, as the occasional article will find its way to the homepage, and this is one of those times. If you’ve been craving the indiest of the indie, take a look (and a listen) through these undiscovered gems that landed in my inbox recently.

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Jun
2

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The Truth About The Criminal Wages Paid To Writers: An Expose

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Credit: LinkedIn

When I decided to put FTCR – my baby and the biggest success of my short 24 years – into hibernation, it was for two reasons. One, it had become too much work for me to deal with even in 60 hour weeks, and it had had a massive impact on my mental health. Two, it was criminally underpaid, and had been for four years.

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May
30

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Miranda Lambert @ Jiffy Lube Live, Bristow, VA | May 21, 2016 – Review

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There was this moment during “All Kinds of Kinds” when Miranda Lambert was recalling standing up in geometry class and you wondered if the thought crossed her mind: am I really here? Lambert was singing in front of over 15,000 people headlining the Keeper of the Flame tour, on a cold rainy night at the Jiffy Lube Live amphitheater in Bristow, Virginia outside of Washington, D.C.

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May
23

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Dierks Bentley ‘Black’ – Album Review

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After the personal emotional outpouring of ‘Riser’ that was the perfect mainstream album, I, and many others, were curious and cautious as to what Dierks Bentley would release as a follow up. Using the trendy tactic of promotional videos to tease new material, Dierks released ‘Somewhere On A Beach’ (the lead single), ‘I’ll Be The Moon (feat. Maren Morris)’, ‘What The Hell Did I Say’, ‘Pick Up’ and finally, ‘Black’ in the lead up to this week’s album release.

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