Artist Bios


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BRANTLEY GILBERT

ACM New Male Artist, Brantley Gilbert has already earned a striking set of “notches” on his industry belt, including four #1 singles, impressive album sales of over 1 million and multiple award show nominations from the CMA, ACM, ACA & CMT Music Awards. “Bottoms Up,” the first single from his upcoming third studio album, recently hit Country radio. His sophomore project, the GOLD-certified HALFWAY TO HEAVEN DELUXE, debuted at #2 on the Billboard Country Albums Chart and has since produced two GOLD-certified, #1 hits – “Country Must Be Country Wide” and “You Don’t Know Her Like I Do” – as well as his Top 10 “More Than Miles.” As a celebrated songwriter, he has also penned #1 songs – “My Kinda Party,” “Dirt Road Anthem,” “Country Must Be Country Wide” and “You Don’t Know Her Like I Do.”


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TYLER FARR

Tyler Farr was born and raised in the small town of Garden City, Missouri. The singer was first introduced to country music at age 16, when he spent a summer on the road with his stepfather, who played lead guitar for country icon George Jones. Farr grew to love country music, and he decided to make the move to Nashville to pursue a career as an artist. He landed a job working as a bouncer at the legendary Tootsie’s Orchid Lounge for five months until he was able to convince the management to let him sing. For the next few years, he would play the Tootsie’s stage four nights a week, in addition to working security at the door. An avid outdoorsman, Farr found a friend in award-winning songwriter and fellow outdoorsman, Rhett Akins. Rhett had heard some of Farr’s music, and he wanted to work with him. After writing with some of the best songwriters in Nashville, Farr eventually landed a publishing deal with Sony ATV/Monument Publishing, and it was that connection that ultimately helped him land his recording contract on Sony Music Nashville’s BNA Records. In addition to recording and songwriting, Farr has toured extensively with Colt Ford, for whom Tyler wrote the song, “Hey Y’all,” as well as opening for Jerrod Niemann and Lee Brice in early 2011 on The Higher Education Tour. Tyler’s four-song digital album, Camouflage – EP, is available now.


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COLT FORD

“When I was a kid/Playing air guitar/Wishing I was a star/Just wanted a chance/To stand up here/And play a few songs for y’all”“Thanks for Listening”
Colt Ford is just an unassuming good old country boy from Georgia, a one-time pro golfer turned songwriter and musician who has struck a chord with his growing fan base. On Thanks for Listening, his fifth album on his own perfectly named Average Joes Entertainment label, he returns the favor, offering his audience a humble token of his appreciation.
With his groundbreaking blend of country music and hip-hop rhythms, Ford is a cultural force who is ready to go from cult status to a household name, from the mud trucker events where he started to arena stages, where he’ll next be seen sharing the bill with Toby Keith on his “Shut Up and Hold On” summer tour, where thousands of red solo cups will be raised in celebration.
The follow-up to 2012’s chart-topping Declaration of Independence, which remained on the Billboard Country Album chart for more than 58 weeks, Thanks for Listening features collaborations with such pals as Keith Urban (“She’s Like”), Duck Dynasty’s Boss Hog, Willie Robertson (“Cut ‘Em All”), Jerrod Niemann (“Crickets”), Randy Houser (“Washed in the Mud”), Justin Moore (“Farm Life”), Chase Rice (the first single, “The High Life”), Lee Brice (“Sip It Slow”), Walker Hayes (“Dirty Side”) and Daniel Lee (the title track).
“I think it’s the best record I’ve ever done,” admits Ford in a rare moment when he drops his characteristic humility. “It’s got a lot of the different elements that I do well, and I push myself on some other things. The idea is to try to grow as an artist and still be who you are, and not completely forget to give the fans that made you what they like. I’ve never been more excited by new music than this.”
From the unabashed rock ‘n’ roll kick of “Crank It Up” (where he sings all the vocal parts in a tour de force) and the country/rap hybrid of “Cut ‘Em All” to the celebration of “The High Life,” his description of a typical weekend in the country, complete with a description of a biscuit and fried chicken dinner, and his own candid self-assessment in “Workin’ On,” Thanks for Listening is a celebration of the things near and dear to Colt Ford’s heart – America, country music, hard work, celebrating life with family and friends and simply having a damn good time in the process.
“I’m just blessed to be able to play music,” he says. “Every artist who gets to do this for a living should thank their lucky stars, be humble and grateful.
“I just set out to make the best songs I can make, try to be honest and this is what comes out. I write about things I know about, things I’ve done or things someone else did while I was standing there… Like, hey, hold my beer and watch this!”
Ford compares his unique style to the spoken-word songs of country greats like Tex Williams (“Smoke Smoke Smoke that Cigarette”), Roger Miller (“Hot Rod Lincoln”), Johnny Cash (“A Boy Named Sue”) or C.W. McCall (“Convoy”).
“I certainly put my own spin on it, or take it to another level,” he says. “Country music keeps changing. That’s what makes music beautiful and great. It means different things to different people. I have fun playing, and when you see me having fun, you’ll have fun, too.”
In a world of racial barriers, Colt Ford brings two diverse cultures together, pointing out how close country and hip-hop can be. “They’re both about story-telling,” he says. “Talking about real life from a unique perspective.”
Thanks for Listening is just that, as Ford sings about good, All-American girls who don’t mind showing their “Dirty Side,” which, as he reveals, has nothing to do with the bedroom, and everything to do with liking to hunt, fish and play in the mud. “Outshine Me” is not just about bootlegging liquor, but fending off the competition, while “Sip It Slow” is a song for his 15-year-old son, a plea to stop and smell the roses, much like “She Likes to Ride in Trucks” from 2011’s Every Chance I Get, which he wrote to his teenage daughter. “Washed in the Mud” is like a baptism, a celebration of driving trucks through the dirt, a song he wrote with his fiddle player Justin David. The entire album features his crack touring band – guitarists “Bad” Brad Henderson and Spencer “Spanky” Basset, bassist Paul Chapman, drummer Tim Haines and Justin David, – a rarity in Nashville.  It also includes some of the town’s most impressive session players, like keyboardist Jim “Moose” Brown and pedal steel veteran Bruce Bouton.
And while country radio – not to mention the Nashville powers-that-be – have been slow to embrace Colt Ford, the current party ethos of the music is now catching up to him. After writing #1 country hits for Jason Aldean (“Dirt Road Anthem”) and Brantley Gilbert (“Country Must be Country Wide”), Ford, currently collaborating with Brad Paisley, has more than one million Facebook fans, 100 million YouTube views, has sold more than one million albums and several million downloads.
“I’d like to let the fans decide about my music, rather than have some program director say they don’t think people will like it,” says Ford. “I’m just going to keep doing what I do.”
With Thanks for Listening, Colt Ford walks it like he talks it, forever grateful for the fans that have enabled him to do what he does so well, entertain them.
“The more people you can play in front of, meet, talk to and let hair your music, that’s really cool to me,” he says. “I will give them every single thing that I got every time I walk on that stage. I hope this record can open some more doors, open some more eyes and bring some different fans to country music. It’s just a cool record. Give them something real, don’t bullshit ‘em and you might just figure it out.”
“Crank up the beat,” he sings. “Put AC/DC on repeat… We’re about to turn this cornfield into a club.”
And above all… Thanks for Listening.


http://www.coltford.com/


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PARMALEE

Parmalee’s country rock sound has its roots in the bluegrass, traditional country, southern rock and blues covers the guys grew up hearing their families play. Matt and Scott Thomas grew up near Greenville, NC watching their father Jerry front a popular local southern rock blues band. The boys watched and learned, picking up their own instruments and jamming along with their Dad’s band. From this they learned how to integrate their own style into the songs they were playing. Barry Know, who played drums for the church choir, loved what his cousins were doing and soon joined them.


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CHASE BRYANT

Music defines Chase Bryant. At every level and in often unexpected ways, his truths are expressed in melody, lyrics, hooks and sounds … but his reality goes even deeper than that. Bryant’s heritage is defined by music. His upbringing, his craft, his inspiration and his obsessions are all centered in the same – which is good – because there’s no other way to explain how a 21-year-old Texan could already be a top-flight guitar player, head-turning songwriter, RED BOW recording artist and co-producer of his debut album.
Bryant focuses his muse on the commonalities people share. “We all have a destination,” he says. “We all have dreams we want to follow. I’m no different than anybody else, I just sing about it. It’s my job to put the party on and give people a good reason to have fun.” And that he does, whether it’s in the soaring groove of “Summertime Saturday High,” the sparkling “Fire,” unabashed romanticism of “Change Your Name” or the vocally-charged, guitar-shredding debut single “Take It On Back.”
Raised in Orange Grove, TX (pop. 1,200), Bryant’s grandfather played piano in Roy Orbison’s first two bands and, later, for Waylon Jennings. His uncles co-founded the group Ricochet, which had several hits in the ’90s. “From the time I was a kid, the only thing I wanted to do was play music,” he says.
“I was two or three years old and heard Jerry Lee Lewis’ ‘Lewis Boogie’ come on my grandfather’s record player. I remember hearing him say, ‘My name is Jerry Lee Lewis and I’m from Louisiana’ … and I had an identity crisis! I thought I was Jerry Lee and would walk around saying that. In school, I was the odd kid. There were 20 guitars in town and I owned all of them.”
Conway Twitty, Merle Haggard, Tom Petty, Vince Gill, Bob Wills, Steve Wariner, Bryan Adams and more were early influences, but a confluence of releases brought him to a turning point. “Keith Urban’s Love, Pain & The Whole Crazy Thing and records by Sarah Buxton and Jedd Hughes did it,” he says. “I knew I wanted to play mainstream country – I always knew. But those records told me that I could be that and still write guitar riffs that would stick in somebody’s head.”
“I never wanted to be anybody else,” he says. “My grandfather always told me ‘you can’t be good at being anybody else. You can only be good at being yourself.’ ”
Songwriting was an integral part of his development. “It goes back, of course, to getting my heart broken in school,” he says. “Some girl broke up with me – I may have been 11 or 12, and I just wrote it down. I was never great at reading, but I liked words, phrases and sentences. The only way I knew to let people know me is through writing. I’d just look at my life, grab some paper and put it down.
“The other thing I’d do is have melodies playing in my head. Something would pop up and I’d just go, ‘There it is.’ ” Encouraged by his parents, particularly his school-teacher mother, he graduated early and moved west. “All I wanted to do was play music and Los Angeles was my first attempt,” Bryant says. “Somebody asked me to go out there and write for this little company and I took the first flight. The dream was that simple, but you can’t stop before the miracle happens. You have to keep going. And I feel like it was a miracle just making it out of Orange Grove. I loved L.A., but Nashville is where I wanted to come. I probably wrote 400 lousy songs before I wrote my first good one. But one good one was enough to get Nashville managers, pluggers and publishers on board.”
Because of his Roy Orbison connection, someone suggested a meeting with Roy’s widow, the late Barbara Orbison, a prominent Nashville publisher, who signed Bryant on the spot, making him her final signing before she passed.
That road led Bryant to BBR Music Group imprint Red Bow Records, to which he signed in August 2013. During one early meeting, Founder Benny Brown, notoriously picky about working with producers, surprised Bryant. “He’d listen to my demos and say, ‘Where did you cut that?’ or ‘Who produced that?’ And I’d always say, ‘In my closet. Cut it myself. Played it myself.’ Benny trusted me enough to co-produce with Derek George (Randy Houser, Joe Nichols). He gave me the reins, which was something I always wanted.”
Brown’s confidence was noteworthy if for no other reason than the fact that Bryant is completely self-taught as a producer. “There were no studios in Orange Grove,” Bryant explains. “My parents took me to a Guitar Center and let me get what I needed. From there, I started building little tracks that I would listen to in the car and compare with what I heard on the radio. I taught myself how to make stuff sound bigger and better.”
Despite being on the cusp of exceptional achievement for someone so young (having recently been named one of “The Best Things We Saw at CMA Music Fest 2014” by Rolling Stone) Bryant sees little difference between himself and the audience. “We’re all fans,” he says. “We’re all friends. And the music is our connection. To me, it’s a lifelong relationship and we’ll all get where we’re going together. That’s the beauty of music. This is the first chapter of my book, and I think people will find it defines where they’re at just as much as it defines where I’m at — because we’re the same – I’m just the guy with the guitar. If I wasn’t, I’d be the guy on the front row with his arm around his girl raising a glass to the guy onstage. No question. It’s just who I am. Music is everything.”


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