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. Holly Williams | For The Country Record

Tag Archives: Holly Williams



Dave Cobb ‘Southern Family’– Album Review

southern fam

Probably the most anticipated, talked about record of 2016 is ACM producer of the year, Dave Cobb’s concept record, Southern Family. Featuring some of the biggest artists in Country AND Americana, including Miranda Lambert, Brandy Clark, Jason Isbell, Morgane Stapleton (with Chris Stapleton), and Holly Williams, the record was expected to be a heavy hitter. I admit, that it was on my personal list of most anticipated records for this year and one that I thought for sure would top my Best Albums of 2016 (even though it’s only March, I was THAT confident). Being able to listen to Miranda’s “Sweet By and By”, John Paul White’s “Simple Song”, Anderson East’s “Learning”, Morgane Stapleton’s “You Are My Sunshine”, and Zac Brown’s “Grandma’s Garden” ahead of the album’s release only heightened my anticipation. So when the record was finally released, I immediately delved into it.

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Hank Jr and Holly Williams To Appear On Today Show – Today!

hank jr 3

Photo Credit: Nash Icon Records Photo by: David McClister

Hank Williams Jr. will light up morning television when he appears on NBC’s “Today” show with his daughter Holly Williams to talk about their ‘family tradition’ in the music business this Tuesday, March 22. Hank Jr., who recently released his 37th studio album It’s About Time, joins his daughter Holly for a sit-down interview and impromptu acoustic performance for Jenna’s “Family Business” series.

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2014 ACM Awards Performers Announced: Where Are All the Women?


Tim McGraw, Miranda Lambert, Keith Urban, Lee Brice, Kacey Musgraves, Blake Shelton, and Taylor Swift. What do all of these people have in common besides being country music stars? They are all among the most nominated acts at this year’s Academy of Country Music Awards, airing this Sunday April 6th on CBS.

McGraw and Lambert lead the pack with seven nominations each, while Urban, Brice, Musgraves, Shelton and Swift scored six a piece. All but Musgraves and Swift are set to perform during the show this year – Shelton and Lambert even get two performances each.

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New article (Holly Williams gig review!)


Last Sunday, I met the amazing Holly Williams, who just happened to know exactly who I was. Coolest moment ever. Anyway, I reviewed the gig for UKCM. Go check it out!



New article! (Holly Williams spotlight!)


Hello you pretty people! I wrote an artist spotlight on the wonderful Holly Williams. Go check it out!



New article! (My Favorite Artists!)


I can be quite critical of some country artists, particularly those directly in the country pop mainstream. But recently for Country Music News Blog I wrote about my top 3 favorite artists, and why I’ll remain a fan of them for life. Curious? Check it out.



Holly Williams’ ‘The Highway’ Album – Her Best Yet?


Holly Williams, the granddaughter of Hank Sr and the daughter of Hank Jr, has taken a little while to achieve the recognition she deserves. It was her second album, ‘Here With Me’, that first launched her as an artist, and it was this record that first introduced me to her music, a folk-influenced, kind of Alt. Country display of musical elements and emotions that yet was surprisingly stripped back and simple. That album provided the soundtrack for several of my teenage years, and is one of my favorites. So I had high expectations for ‘The Highway’, much like the other fans of her work, and I was so worried that I would be disappointed.

Thank God I wasn’t.

Throughout ‘The Highway’, Holly’s incredible songwriting shines through, and the sheer level of honesty I felt from her previous collection is here in buckets. I am someone who finds it very difficult not to detach herself from the music and deconstruct the very cultural foundations it’s built upon. I rarely feel like an artist means every word because my study means I cannot lose myself in notions of authenticity. However, I found myself exploring the lyrics of ‘The Highway’ and desperately trying to relate them to Holly’s life. As her raspy vocals pour over the guitars, lap steel and mandolins, I picture her singing and feel every word. There’s something in the emotional straining of those vocals that don’t always quite hit the notes, the imperfections that have been left open without alteration, that feels so basically raw. Much of Holly’s writing plays on the negative, from the post-heartbreak laments of ‘Happy’, where she cannot get over her previous lover, to ‘Gone Away From Me’, a deep contemplation on the cycle of life and death and a longing for what is lost (and one that is extremely powerful), to ‘Giving Up’, trying to save a female friend who is intent on self-destructing. I often feel negative emotions provide the best songs because it allows deep reflections and solace for those in need, but the songs on ‘The Highway’ are far from conventional sad country songs.

However, if you’re looking for something a little punchier, then you won’t be disappointed with the selection this offers up. ‘Railroads’, an infectious rocky number that is guaranteed to have fans singing (shouting) along live, the title track, a slow build-up to a country anthem that calls all of the wanderers who miss their dirt road home, and the unexpected ‘Without You’ a more mainstream country rock ballad, all provide a more upbeat feel or fuller production. The latter track in particular feels pretty epic-sounding with a beautiful string section, and I wouldn’t be surprised if it became a single.

Holly’s lyrical grasp is highlighted in songs such as ‘Let You Go’ (“these seasons change and the ground will turn to snow, new blood old heart still trying to let you go”), and the Southern rock fireside tune, ‘Til It Runs Dry’ (“hot as hell, cold as ice, this Ferris wheel that we call life, with a past I could erase, but I’ll serve it up on a silver plate”). However, the lilting strings-based ballad of ‘A Good Man’ brings it back to very simple, real basics, of true love, and if she were to lose it. ‘Drinkin’’ is similar, tapping into country music tradition and telling a story creatively in such a simple way. It really exposes current mainstream country music for how far it has strayed in places from the essence of what it was supposed to be: truth, honesty and real emotion from the ordinary people.

Finally, Holly’s storytelling skills are really brought to bear in the last track on the album, ‘Waiting On June’. At nearly 7 minutes long and relatively quiet, it requires a considerable amount of time and concentration to fully appreciate it. It is essentially a love story, following at length the life (from the point of view of the man) of a couple, and how he will always be waiting on her. It is diary-like, beautifully descriptive and feels like a short story in itself, noting the little joys and quirks of life. At times it is genuinely emotional but ends with a positive feel of never-ending love in Heaven, and when it comes to storytelling in song, it really doesn’t get better than this. A fantastic way to end such a wonderful album, that leaves the listener reflective, content and in a quiet frame of mind.

It is records like this that really put country music in perspective and remind us what can be created if we allow it. The ironic thing is that for the most part, it doesn’t sound conventionally ‘country’ as such, with Southern rock and folk influences in abundance. However, it is the most country record I think I have heard in a long time, the most profound, the most thought-provoking, and the most enjoyable. I could listen to this again and again.

You can buy ‘The Highway’ on iTunes.