Pat Green was born in San Antonio and raised in Waco, Texas, the eighth of nine siblings. His father was a stage actor, and Green fell in love with the musicals his father acted in.

Green began his musical career when he was 18 and in college at Texas Tech in Lubbock. "I started playing guitar to pick up the chicks," Green laughs. "Before that, I only sang in the shower. I could mimic other people's voices. It took me a long time to find my own voice, but once I did, I became very comfortable with it. It's not real pretty but it's believable."

During those college years, Green started playing clubs and opening shows for other artists. In 1995, he put out his first independent record.

"I don't know exactly where it began, if it was Willie Nelson's picnic or one of Jerry Jeff's shows, but I got asked to play and there was a huge crowd there," Green says. "After that show, we started getting some radio support. All of a sudden, everything started happening at once. We were selling a ton of records. We were able sell out Billy Bob's. In Dallas-Fort Worth, we were selling 4, 5, 6000 seats. In Houston and everywhere else, it started being 1000, 2000 seats. It just started steamrolling. I think it was a combination of the popularity of Robert Earl Keen, Jerry Jeff Walker and Willie Nelson leading the forefront for us little guys. We just all fell in line behind them."

The result of that faith was Green's 2001 major-label debut, Three Days, on Republic/Universal. The album Wave On Wave followed in 2003, and debuted at No. 2 on the Billboard country albums chart, and the title track cracked the Top 5 on the singles chart. He released Lucky Ones in 2004. In 2006, after a move to the RCA imprint BNA, he issued Cannonball.


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With roots firmly planted in the fertile musical soil of Texas, the Eli Young Band is a little bit country and a helluva lot of guitar-driven rock and roll. Their Carnival Recording Company debut, Level, finds them poised to bust out of the Lone Star State and bring their brand of music to a wider audience as they make inroads into neighboring states and the wider Nashville country scene.

The band was formed almost five years ago by Mike Eli who grew up just outside of Houston and James Young who hails from Irving, TX. After playing together as a duo they were later joined by drummer Chris Thompson of Colleyville, TX and bassist Jon Jones of Omaha, NE who all met while students at the University of North Texas at Denton, about 50 miles north of Dallas/Forth Worth. After graduating the group decided to stay in Denton and to this day make their home in the town.

Late in 2003 producer Frank Liddell (Jack Ingram, Miranda Lambert, Chris Knight) attended a show at the Gypsy Tea Room where EYB was playing on the bill with Miranda Lambert. He was blown away by the show and wound up signing them to Carnival Recording Company soon after. In April 2005, the Eli Young Band released Level, marking their debut on Carnival.

Level has drawn comparisons to The Jayhawks in the plaintive "When It Rains". The band members, all in their early 20s, have proven to be adept at blending their musical influences into a cohesive sound on this effort. You can hear the heartland rock of John Mellencamp in the autobiographical "Small Town Kid" and the crying-in-your-beer band on the road saga "Highways and Broken Hearts." There's the grinding blues of the Black Crowes in "Bring It on Home," and the romantic lament of "That's the Way" and "Everything Is You."

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Randy Rogers Band is an American "Texas Country" group from the state of Texas that formed in 2000. The band is composed of Randy Rogers (lead vocals), Geoffrey Hill (guitar), Jon Richardson (bass guitar), Brady Black (fiddle), and Les Lawless (drums).

When the Randy Rogers Band's last project debuted as the most-downloaded country album on iTunes, plenty of the industry "insiders" on Music Row were left scratching their heads: Who are these guys?

The Nashville elite may not have known about the five-piece band, but much of America already did. Rolling Stone magazine ranked them alongside such artists as U2 and the Stones in its list of Top 10 Must-See Artists in the summer of 2007. They earned $2.5 million-a staggering total for a still-developing act-on the tour circuit in a single year. Willie Nelson, the Eagles, Gary Allan and Dierks Bentley all picked them as opening acts for their concerts. And more than 2,200 people showed up and bought the bands album at an appearance at Wherehouse Music.

The fans' exuberance was shared by USA Today, which praised the band for having "loads of grit, swagger and heart."

The Randy Rogers Band built its audience by combining forces: It's a dynamic live act centered around songs that fit the rowdy, party vibe of the concert circuit, but their songs also say something.

That's particularly true in their album, The Randy Rogers Band, in which a dozen persuasive tracks give the listener plenty of reasons to want to down a celebratory brewski. But the songs also maintain a depth that makes them powerful and provocative even beyond their edgy arrangements and tough-guy sound.

Invariably, the songs are about people making choices and dealing with the consequences they bring. That's the case in the opening "Wicked Ways," in which a string of wild endeavors leaves an out-of-control adult in need of redemption. It's true in "When The Circus Leaves Town," where a performer comes to terms with the emotional crash that accompanies the conclusion of a pumped-up show. It's even a tenet in "One Woman," a ballad that finds a former playboy recognizing his old choices and behaviors were a shallow pursuit next to the promise and solidity that stand before him.

"These songs are definitely true, and they're relatable to many different life situations that I've either gone through in the past or will go through in the future," Rogers, the lead singer and primary songwriter, says. "I just tried to create believable characters and relatable characters. I hear from fans that we really have helped them in real-life situations when they've applied the songs to their everyday life. That's what I strive for in the songs that I write."

"We're not old, but we are getting a little bit more mature," bass player Jon Richardson asserts, drawing laughter from the rest of the band. "We're trying to be more mature, anyway. And that's something that we can write about a little more naturally now instead of 'Here's a song about how much fun I had' or 'Here's a song about a girl.' That's probably just a natural progression of our own lives being reflected in our songs."

Indeed, the Randy Rogers Band is confronting the same questions about relationships and identity that face many of the college students and young adults that form the centerpiece of the group's audience. The balancing act between work, home and recreation is a difficult one-even tougher for an ensemble that spends more than 200 days annually on the road.

"All the guys, except for Jon, are married or soon to be married," guitarist Geoffrey Hill observes. "Les [drummer] and I both have kids. So sometimes it feels like you've really gotta struggle to fit all that into your life, I guess, but it's kinda part of the game. I always said that I play music for free, and I get paid to leave the family behind and go on the road."

That requires a constant rededication to the group, a commitment the five members have repeatedly made since the current lineup coalesced in 2003.

The Randy Rogers Band's status as a group has occasionally confused its audience, which sometimes assumes Rogers is simply a solo artist. It's the same issue that acts such as Huey Lewis & The News and Edwin McCain have battled, though one that doesn't concern RRB all that much.

"I don't think it's an issue at all," fiddler Brady Black asserts. "I think when we got together, Randy had already had a band, and his name had been out a little bit, and so we just kind of went with it."

"That," Black smirks, "and he owned the van..."

Actually, the name came rather innocently. Rogers had developed a following, he played open-mic nights, impressing club owner Kent Finlay enough to offer Rogers his own regular night, as long as he found a band to back him.

That group might have taken his name, but Rogers-who'd had previous experiences as a guitar player in another band-had no interest in being just a one-man show.

"I always wanted everybody to be equal, not only financially but also input-wise and creatively," he says. "When we started the band, I pledged to them that I would work every day as hard as I could and try to get us down the highway a little further if they would sign up with me and share in some of those sacrifices, and I think from that day on, everybody pretty much quit their alternative jobs, and kinda gave 110 percent to the band."

The Randy Rogers Band took the same slot that George Strait and the Ace In The Hole band had once occupied at Cheatham Street, appropriate since the band used the same sort of inner motivation in building its sound as Strait did a generation ago.

Their music is hardly the same. In contrast to Strait's pure-country aesthetics, RRB combines that traditional country sound with a rollicking, swagger influenced by rugged sounds from such diverse sources as Waylon Jennings and Stone Temple Pilots. But, as Finlay recognized, there's an authenticity and honesty to the band that parallels Strait's personal manifesto.

"In a way, George was a little bit out of the box for Nashville when he debuted," Rogers notes, "I think George Strait, when he first hit town, he knew who he was, and I think that's partly why he has been so successful throughout his career. If there's a correlation between the two of us, I think that we definitely have a sound and we know who we are."

The Randy Rogers Band further distinguishes that identity in its self-titled album, the band's second release since signing with Mercury Nashville. Produced by longtime admirer Radney Foster, who's successfully maintained alt country integrity while writing mainstream hits for the likes of Sara Evans and Keith Urban, sessions for The Randy Rogers Band took place at Dockside Studios, a bayou location in Maurice, Louisiana, that's also been the breeding ground for projects by B.B. King, Mavis Staples, Keb' Mo', Levon Helm and Mark Knopfler.

"We shut ourselves up for 10 days and had a band-camp set up," Richardson observes. "There weren't any distractions. It wasn't like we were all goin' home every night and comin' back the next day. We were just living and breathing it for 10 days or so. We were just completely absorbed by it."

The consequences of that choice are just as absorbing for the listener. The album ranges from the hypnotic country of "Buy Myself A Chance" and the first single, "In My Arms Instead," to the propulsive buzz of "Never Be That High" to the painful conclusion, "This Is Goodbye."

Rogers' various performances reflect the wide-ranging influences that snapped together in the process, evoking at times the sneer of Steve Earle, the soul of Bakersfield's Monty Byrom (formerly of Big House) and the vulnerability of Keith Urban.

With its infectious hooks and daring attitude, the album underscores the iTunes popularity of the Randy Rogers Band, its critical appeal and its significance on the nation's concert circuit, where they've broken attendance records at numerous clubs across the heartland. Even Kenny Chesney, who consistently places among the top-selling tours, saw the group's blue-collar connection when he covered Rogers' "Somebody Take Me Home" for the album The Road And The Radio.

Each of the five members recognizes his contribution to the Randy Rogers Band's overall unity, and they repeatedly make choices-creatively and personally-that keep that all-for-one-and-one-for-all solidarity intact.

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Josh Abbott, a great fan of music as long as he can remember, has come into his own at the tender age of 27 with his first full-length release of "Scapegoat". Along with adopting a jam packed tour schedule, including shows in North and South Carolina, Alabama, Mississippi, Chicago, IL, and Atlanta, GA, a hit song on the charts with "Taste", a booking agreement with KB Talent, and a Management deal from Ambiance Artist; the band have become a steady draw all over Texas, Oklahoma, Arkansas and beyond with two tours out to the southwest and two scheduled tours into the Midwest in 2008-2009. The Josh Abbott band has no plans to stay in one area for too long. In addition Josh and the band have plans to stage their own festival in their hometown of Lubbock, TX in the spring of 2009.


HISTORY OF THE BAND
Formed in early 2006, JAB was founded by fraternity brothers: Josh Abbott, Austin Davis, Drew Hurt, and Neel Huey. After playing mostly acoustic open mic night shows at The Blue Light, Josh and Austin called on Drew and Neel to give the band a rhythm section. On their debut night, The Blue Light packed in a full house and a sense of something special was present! After a year of picking up local shows and Greek parties, the band released a self-titled LP in 2007 featuring four tracks. Immediately, the band recorded a music video for "Buried Me" and entered it in the Music City Madness competition on CMT.com. After beating out over 600 other videos, the live concept video made the final cut!

The momentum kept rolling and JAB's popularity began to grow rapidly in Lubbock and on the Tech campus. Eventually, the band began to pick up road shows, and were invited to play the Zieg-Fest after-party at Lake Bryan. JAB knew they were starting to arrive when some of Texas country's most popular artists came to party and watch them, including: Eli Young Band, Roger Creager, Rich O'Toole, Kyle Bennett Band, and Brady Black of Randy Rogers Band. JAB has now played shows with: Pat Green, Eli Young Band, Randy Rogers Band, Wade Bowen, Stoney LaRue, Cory Morrow, Rich O'Toole, Adam Hood, Ryan James, Johnny Cooper, Matt Martindale, and many more!

THE RECORD
With the help of Drew Womack, who sang harmonies and co-produced the vocals on his new record, Austin Davis, who slams down an entirely new sound with his electric banjo leads, Preston Wait, who throws around dueling fiddles and killer lead guitar riffs, a punctual rhythm section spear headed by Daniel "Dova" Almodova on Bass and Edward V on drums and some sultry harmonies from CMT host and Nashville Recording Artist Charla Corn, Josh has produced a record that will not be ignored this fall.

CONCLUSION
We have all watched as Lubbock pushed out legend after legend with Buddy Holly, Delbert McClinton, Guy Clark, etc, etc, and TX stars like Pat Green, Cory Morrow, and Wade Bowen. Josh Abbott and his band are aiming to add their name to the incredible list with some help from friends like Mike Eli, Ryan James, Rich O'Toole, Drew Womack, Randy Rogers and Wade Bowen. Josh Abbott may propel into Texas hearts and minds far before his time.

From Lubbock to Houston to Amarillo to Austin, the Josh Abbott Band is making themselves known and catching on fast! Whether it's the powerful ranging vocals, catchy lyrics that hook, or unique sound of an electric banjo, JAB is making their mark quickly. Look for their record "Scapegoat" at Hasting and your favorite mom and pop record store as well as I-tunes, Lone Star music, and more to come.



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