Shotgun Rider is Logan Samford and Anthony Enriquez.
The 2 came together a year ago as part of the band Seven Miles South. After the band broke up, Logan and Anthony ventured out on thier own.
With Logan’s amazingly unique vocals and Anthony’s strong songwriting talent they are destined to make a mark on the Texas Music Scene.
In a very short time they gained the attention of Music Executive Alex Torrez. A Texan himself now living in Nashville, Torrez has assembled a strong team to take Shotgun Rider to the next level.
HOUSTON! You’ve been in our thoughts and prayers. We’ll be at Firehouse Saloon on September 22 and we’re donating 50% of all merch sales to @justinjames99 relief fund @youcaring. Come out and grab a tshirt or koozie and know it’s going to a good cause! See y’all there!
Also, Cody will be in studio with Made in Texas Radio that day at 2pm promoting the show and new single “Covered”.
#houston #codysparksband #jjwatt #youcaring #hurricaneharveyrelief #wegotthis #texasstrong #livemusic
Stop me if you’ve heard this one.
Guy walks into a bar. And now he leads one of the hottest bands in Austin.
Actually, that’s just the beginning, even though the punchline does tell a key part of this story.
The guy we’re talking about is Cody Sparks. He heads The Cody Sparks Band, whose raw, spirited music stands out even in the teeming Texas country scene. He’s a big, amiable guy who looks right at home onstage. Yet his songs often tell stories about heartbreak — about the lighter side of broken romance (the playful “My Baby’s Gone”) or the fury kindled by betrayal (laid out over a foot-stompin’ beat on “No Time”). He writes with artful metaphor (“Set in the West”) and reckless abandon (“Stilly”). And he finds time to share some of the wisdom handed down him by his grandfather in the wistful, fiddle-laced “Sinners and the Saved.”
These songs and all the others on the band’s debut album, Sinners and the Saved, suggest that Sparks must have started writing years ago, that he’s absorbed plenty of one-two punches from both the music business and life in general.
“We’ve been pretty lucky,” is how he puts it. “More than that, we’re very, very blessed. I’ve talked to guys who have been working the clubs for seven or eight years and they haven’t come close to what we’ve accomplished from just doing this for a year and a half.”
This is no boast. It’s more like amazement at how far Sparks has come in such a short time. Consider this: He was 20 years old before he ever picked up a guitar — and it wasn’t until three years after that that he sang for the first time.
Instead, growing up a pastor’s son in the Texas Panhandle, he spent his first two decades obsessing about sports. Sure, there was music in his household — his younger brother Seth started playing drums at a precocious age, and his dad had toured and recorded with several gospel quartets. As far back as seventh grade, Cody had started listening to music with more than idle interest.
“I was on the bus going to a basketball tournament and my friend had a Pat Green CD,” he remembers. “I took my Newsboys CD out from my Walkman, put Pat Green in and heard ‘Wave on Wave.’ I was like, ‘Whoa who is this guy?'”
Still, a football scholarship was Sparks’s ticket into Oklahoma Panhandle State University. His aspirations were more athletic than artistic for a long time. But then, he recalls, “in the off-season, I was on a retreat and I saw this guy playing a guitar. I thought it was interesting, so I asked for a guitar for Christmas. My dad laughed and said ‘What the heck do you want a guitar for?’ But he got me one. Then I went to Walmart, bought myself a chord chart and taught myself to play. I still remember the first time I pushed the strings down hard enough to actually play a G chord. I was like, ‘Holy smokes! That’s the most beautiful thing I’ve ever heard!'”
Eventually, sports had to shove over and make room for music. Cody recruited his brother Seth, put a group together and and in three weeks learned 20 Texas country favorites. They debuted at the annual Wheatheart of the Nation Celebration in their hometown of Perryton and soon were booking local shows. When Cody moved to Amarillo with a new job coaching high school football and basketball, he kept playing music too.
Then came the inevitable fork in the road. “I always knew that music would be with me,” he says. “You can play music forever. But I decided that if you have an opportunity to do it for real, you should take advantage of it.”
With that, he, Seth and a guitar player moved together to Austin. And Cody’s real education began shortly after that, when he actually did walk into a bar …
“It was a cold, rainy Tuesday night in February,” he notes. “We went to the Cheatham Street Warehouse in San Marcos. Somebody was playing and I was like, ‘I could do that!’ So I went up to the bartender and said, ‘How do you get booked here?’ She said, ‘You see that man sitting over there in the corner. His name is Kent. Why don’t you ask him?'”
This was, of course, Kent Finlay, celebrated songwriter and proprietor of the Warehouse, who had mentored George Strait, Hal Ketchum, Todd Snider, Bruce Robison and many other outstanding artists-to-be. “I said, ‘Hi! My name is Cody Sparks. How do you get booked in this bar?’ He said, ‘Do you write your own songs?’ I said, ‘Well, no, not really, but we can play a ton of covers!’ And he said, ‘Write some songs and then come back and talk to me.’ And I said, ‘Okey dokey!”
Around that same time, the hand of fate guided Sparks to the local Whataburger, where he struck up a conversation with songwriters Jordan York and Haley Cole, who invited him over and played a few of their songs for him. “I just went, ‘Holy cow, these are so good!'” Sparks says. “So I went home and wrote my first song.”
Once he had a bunch of original tunes, Sparks started rounding up gigs. “I took my guitar, walked into the bar and said, ‘You guys do live music?’ I’d play a song for the owner. He’d say, ‘Can you come back and play an acoustic show?’ So I came back, played a two-hour acoustic show and he said, ‘Do you have a band?’ I said, ‘Yes, sir.’ ‘See you guys Friday night.'”
And that’s pretty much how it started. From there the story takes the Cody Sparks Band onto countless stages as featured acts or opening for Jerry Jeff Walker, Cody Canada, Casey Donahew, Curtis Grimes, the Dirty River Boys and Shane Smith & The Saints. They’ve battled their way into the Top 20 and eventually advancing to the top 5 out of more than 1,200 contenders in the Red Dirt Battle of the Bands, staged at the Wormy Dog Saloon in Oklahoma City.
And in May it led them into a recording studio for the first time. Produced by Shane Smith’s guitar player Tim Allen, Sinners and the Saved launched their first single, “Oklahoma Fool,” into the Top 10 of the ReverbNation Country charts, with its vivid picture of growing up as Sparks did, on late-night drives down dirt roads near Colter’s Hollow with friends, a brilliant starry sky and hours to kill in making memories that would someday be set to music.
“A year and a half ago, we weren’t anywhere close to where we are now,” he reflects. “A year and a half from now, I highly doubt we’ll be anywhere close to where we are at this moment. As long as we can keep progressing and getting better and continue to grow a following, we’ll keep moving forward.”
Then, with a smile, Sparks adds, “Besides, I can always go back to coaching high school when I’m 50, 60 or 70.”
Which adds up to a long time … and a lot of great Cody Sparks Band music … ahead of us all.
Drew Moreland is an original Texas Country Music artist.
His style is an amalgamation of Country, Americana, and Southern Rock.
True to traditional country roots music, most of his songs tell stories.
For shows that require long sets (2hrs+), he plays cover music from traditional country artists and classic southern rock favorites.
The size of Drew’s band varies based on the size/ requirements of each venue.
Typically a 3 piece with percussion and steel guitar, Drew can also play as a solo Acoustic act or a full blown 5 piece country band.
Born on January 12th, 1984 in San Antonio, TX, Drew Moreland was raised in a city with many converging cultures. Despite growing up in what is now the 7th largest city in the United States, Drew’s life was grounded by his parents who both came from a small farming community. From an early age, he enjoyed listening to music and playing it came naturally.
Drew Moreland and the Neon Hustle got its start in the spring of 2016 as a songwriting project between Drew and his brother-in-law Garland (Lee) Wenner. At the time, there were no intentions to actually start a band. It wasn’t until Drew was invited to play country music at a summer event that a band materialized to play some of the songs they had written.
In February of 2017, Matthew Parker, a long time friend and accomplished musician in the Texas Country music scene, recommended recording some of the songs Drew wrote with Garland as an EP. Over the next two months he helped produce their first album. Bench Seat Revival was officially released in April of 2017!
Drew Moreland plays with his band, The Neon Hustle, and also as a solo acoustic act. Playing several nights every week in South and Central Texas, Drew’s live show has been received well by all (with the exception of a few disgruntled Cajuns who didn’t like the song about Louisiana).
Cody Joe Hodges’s music has been described as “outlaw country”, with a large influence of the country greats and performers who started the genre in the late 70’s and 80’s. Cody Joe’s voice ranges from silky smooth to raspy seduction. He and his band always thrill, putting on a high-energy performance at every show. It is rare that you will find someone that reaches across the aisle to both the old and new generations, but Cody Joe Hodges does it every time. His sound is something out of the past, and his writing style of the here and now.
He started playing music at an early age, but it wasn’t until his senior year in high school that Cody Joe became serious about his art. Impassioned by country greats from the 70’s and 80’s, Cody Joe wrote his first song, “Daddy’s Dream”, his freshman year in the dorms at Texas A&M University.
Dean Dillon, writer of over 50 George Strait songs, was born on March 26, 1955, in Lake City, TN, and started playing guitar at the age of 7. At 15, he appeared in a local Knoxville variety show called JIM CLAYTON STARTIME as a songwriter and performer; by the end of high school, Dillon had his mind set on Nashville.
Hitchhiking to guitar town in 1973, it wasn’t long before he caught the watchful eye of Shelby Singleton of SUN RECORDS.After a short recording stint that produced one record, he was once again walking the streets of a town he barely knew. As luck would have it, days of pounding pavement and beating on doors payed off when songwriter Frank Dycus took an interest in him. In the years to come it was Dillon-Dycus collaborations that would help launch country music legend George Strait. Dean also worked with ex-Porter Wagoner fiddler Mac McGahey’s combo at the Opryland theme park. In 1976, he landed the role of Hank Williams in the Country Music Show at Opryland. While there, a friend introduced him to hit songwriter John Schweers, who in turn introduced him to heavyweight nashville producer, publisher Tom Collins. Three weeks later, Barbara Mandrell recorded three of Dillon’s songs. In 1979, Jim Ed Brown and Helen Cornelius had a number one hit with his “Lying Here in Love with You” a song he co-wrote with fellow tunesmith Gary Harrison of “Strawberry Wine” fame. It was both writers first #1 record.
Between 1979-1983, as an artist Dillon charted eight times, and broke the Top 30 with “I’m into the Bottle (To Get You Out of My Mind).” He also wrote hits for other country stars, like the 1983 George Jones hit “Tennessee Whiskey.” These successes established Dillon as a performer and songwriter; It wasn’t long untill Dillon was paired by RCA record head, Jerry Bradley, with Gary Stewart, the “King of the Honky Tonkers.” The two mens’ vices fed off of one another, and while their two bleary, good-timing albums were successful (especially 1982’s Brotherly Love), the partnership had little use for the straight and narrow. After Those Were the Days, Dillon took a five-year hiatus from recording, cleaned up his personal life, and concentrated on songwriting. He wrote or co-wrote a number of hits during this period, and had considerable success with George Strait, who took five of his songs to the charts between 1981-1988. The exposure landed Dillon a new contract with Capitol, who released two Ricky Scruggs-produced albums, Slick Nickel and I’ve Learned to Live. The latter featured the Tanya Tucker duet “Don’t You Even Think About Leaving.” Dillon next signed with Atlantic, where he issued his most successful album. 1991’s Out of Your Ever Lovin’ Mind referenced the hard country of Dillon’s heroes, but it also flirted with pop. The LP was lauded as a throwback, an answer to Nashville’s penchant for vapidity. While he stopped performing, Dillon’s songwriting career thrived for the rest of the 1990s, as he continued to work with Strait and newer faces like Kenny Chesney, Toby Keith and Lee Ann Womack. In 2002, he was inducted into the Nashville Songwriters Hall of Fame (along with Bob Dylan and Shel Silverstein). Early the following year, Dillon signed a songwriting contract with Sony/ATV Tree, which came after his 15-year relationship with Acuff Rose, a smaller publishing company Sony acquired in July 2002. At present, Dean is still cranking out the hits and just this year recorded a duet with his friend and hero George Strait. “West Texas Town” co-written with the fabulous Robert Earl Keen can be found on Strait’s “TROUBADOR” album. To date Dillon has had over Fifty songs recorded by King George alone.
10 Year Sauce is a new party band and project from several long time Texas musicians.
If you want to listen to a blend of classic rock, Motown, country and even a few other styles then bring your friends and come to the firehouse saloon on Oct 1.
Lead singer and veteran guitarist Blake Ratliff actually spent time touring throughout the south in a Motown and Gospel based band. If sweating were an Olympic competition he could proudly represent our country. He will also explain the story behind the name 10 Year Sauce at the show.
Bassist Shane Hildreth has toured all over with Owen Temple, Max Stalling and Phil Pritchett. Plus we think he actually may own some or all of the Astros. And Yeti Coolers.
Ty Hoffer on drums had played mainly in bands in Austin and Fort Worth. His project Change of Standard has received critical acclaim for their original releases on iTunes. He also has a great tennis serve.
Guitarist Art Valenzuela also plays in another project called Texxas Heat and style is heavily influenced by SRV. He can beat 97% of people in the world in arm wrestling.
Keyboardist Randy Wall plays in more bands that we have room to list. Most notably with Commercial Art, The Waltones and Dan Ackroyd. He is not an early riser.
I don’t know how good of a saxophone player you may be, except Jeff Magnus is better than you. He will also be playing. Come here him wail.
Ray Scott – The digital music revolution has turned out to be a “Rayincarnation” for acclaimed country storyteller Ray Scott. While a label-free utopia where artistic merit trumps popular whims remains as unlikely as it always was, the internet age has allowed a certain kind of creator to connect with an audience and chart a self-determined course … which helps explains why Scott has chosen to self-title his fourth album. “This is sort of a regroup for me – not only artistically, but in terms of my career,” he says. “My music and my sense of where it fits in the music business has really taken shape over the past several years. So this is an introduction to that for people who may not be familiar with me, and it’s a defining of that vision for those who already know my music.” For many, Ray Scott needs no introduction. Warner Bros. released Scott’s debut album My Kind Of Music in 2005 to enormous critical acclaim. The first single and title track cracked the top 40, but a combination of label politics and radio’s reluctance to embrace his fresh approach to country traditions had him off the label less than two years later. But a funny thing happened on the way to post-label obscurity – a level of success many major label artists might envy. Crazy Like Me (2008) was put together to have a project to sell on the road, but ended up getting strong critical reaction and surprising sales. Encouraged, Ray connected with producer Dave Brainard (Jerrod Niemann, Brandy Clark) to record Rayality (2011). The single “Those Jeans” received substantial airplay on SiriusXM and went on to sell a couple hundred thousand copies. “I kept writing and still had a pile of songs we didn’t get to on Rayality,” he says. “So we decided to amp things up and make a record exactly the way we wanted.” As result, Ray Scott follows its namesake’s vision without deviation. “Every song is like a separate vignette in both subject matter and production, but it also exists as a complete body of work,” Ray says. An obvious crowd-pleaser is the first single “Drinkin’ Beer,” which Scott co-wrote with Tony Mullins. Scott wrote the murder ballad “Papa And Mama” by himself, and enlisted Mark Stephen Jones to co-write “Ain’t Always Thirsty,” which is a product of Scott’s painful divorce. “Tijuana Buzzkill” was actually written eight years ago. “It’s a true story, right down to having my foot peed on by a Mexican guy,” Scott says. As a whole, Ray Scott is the most descriptive name possible for the collection. “It’s country music the way I interpret it,” he says. “Every artist borrows and basically bastardizes whatever they grew up loving. In my case, it was a combination of a lot of great ’70s country. My dad was a singer and I used to hear him do all that stuff. “The good news is, the kind of music I’m making now is not age-specific. I’m not out there wiggling my ass for anybody, so it’s about telling stories, making people smile and making them feel something. And I can do that until I grow up, if the fans will still have me. “I understand that sometimes the business has a place for what I do and sometimes it doesn’t,” Rays says. “But what I do has kept me alive out there in the world because it is different enough that people get passionate about it. They stick with it. I don’t sound like everybody else, and I don’t want to.”
MEET MO Official Website
When asked the question, “Why Do You Sing?” Moses just laughs and says, “Because It’s What GOD Made Me To Do.”
For over twenty years, Moses Rangel has established himself as a singer’s singer. Influenced by Rhythm and Blues, Gospel, Pop, Jazz, Rock, and, lots of Country, his music is an evolving fusion of stories and melodies.
On November 15, 2015, Moses released a brand new single to country radio. The new single brought new meaning to country love songs. Written by multi-talented hit SESAC songwriters, Jim Femino and James Otto, Moses’ interpretation blended a soulful, neo-traditional country sound into a mix of swampy soul gumbo. WE AIN’T MISSIN’ NOTHIN’ was the first single to be released off the album to a national market.
On May 31, 2016, Moses teamed up with Austin, TX based promoter, Ed Spacek with The Spacek Company for a Texas Radio Release. “Thinkin’ You Could Be Mine” would be the first Texas Radio single off the album. The single did well and top the TRRR charts at number sixty-six.
On December 16, 2016, Moses’ MOSAIC CD was officially made available for downloads on iTunes and other online stores. “The CD sounds like if Glen Campbell and Tom Petty recorded an album together in Muscle Shoals, Alabama” – Michael Hughes – Hartwell Studios
After several months of performances, Moses began working on a new project that is projected for a March 2018 release. In the meantime, Moses will be releasing a new single to radio in August 2017 and concentrating on touring.