New Album "TEXAS" Out August 15th, 2019!

RODNEY CROWELL Enlists All-Star Cast for TEXAS, a Lone Star-Centric Album of Collaborations 
Out August 15th

New Project Features Willie Nelson, Lyle Lovett, Ronnie Dunn, Billy F Gibbons, Randy Rogers, Vince Gill, Lee Ann Womack, Steve Earle, Ringo Starr 
and More

Crowell To Host Special Show Celebrating Texas Heritage On SiriusXM's Outlaw Country 
To Air Release Week


Nashville, Tenn. (April 11, 2019) – Grammy winner RODNEY CROWELL explores his Lone Star roots with an eclectic cast of all-star friends on TEXAS, his adventurous new album of collaborations due August 15th on his own imprint, RC1 Records distributed by Orchard Music.  Crowell will be celebrating the album’s release by returning to SiriusXM’s Outlaw Country channel to host a special show devoted to his Texas heritage that will air multiple times during release week.

Featuring Willie Nelson, Lyle Lovett, Ronnie Dunn, Billy F Gibbons, Randy Rogers, Vince Gill, Lee Ann Womack, Steve Earle, Ringo Starr and more, the 11 tracks on TEXAS represent not just a fresh batch of weathered poetry from one of Americana’s finest craftsmen, but also an iconic singer-songwriter letting loose with his friends.

“For the last few years, I’d been writing Texas-centric songs and revisiting some of my tunes from as far back as the mid-seventies,” Crowell explains. “Last year, I started referring to the collection of songs as the TEXAS album.”

Crowell had it in mind to record one of the album’s tracks with Texas native Steve Earle, he says, and had also intended to work with fellow Houstonian and ZZ Top front man Billy F Gibbons for years. But after finally setting dates to get those projects done, the list of guest performers grew … and grew. 

“Interestingly it all started with Ringo Starr who, through a mutual friend, let me know he was keen to record a track,” Crowell says. “Before I knew it, Lee Ann Womack, Ronnie Dunn, Willie Nelson, Randy Rogers, Lyle Lovett and Vince Gill had climbed on board. Ray Kennedy and I took hold of the production reins, enlisted a cast of bad ass musicians and voilá, TEXAS was born. Man, was it a fun record to make.”

Twangy two steppers stand alongside hard-driving blues rockers and dusty cowboy ballads, sharing time with windblown prairie gems, quirky spoken-word compositions and historically-charged singalongs. Each one is defined by Crowell’s famously sharp, vivid storytelling and authentic vernacular, with collaborators like Rogers counting themselves lucky to be along for the ride.

“I have to admit, my heart almost stopped when I got this phone call from Rodney,” says Rogers. “There are really not words to explain how honored I am. He is a true legend to all of us who dream of playing our songs for people who care.” 

"I love to work with people who are the best at what they do," shares Womack. "Singing with Rodney is like a master class from one of the greatest singer/songwriters of our time."

On August 10, Crowell will be inducted into the Texas Country Music Hall of Fame in Carthage, TX.

Rodney Crowell’s TEXAS track listing: 

1. “Flatland Hillbillies” (featuring  Lee Ann Womack & Randy Rogers)

2. “Caw Caw Blues”  (featuring Vince Gill)

3. “56 Fury” (featuring Billy F Gibbons)

4. “Deep In the Heart of Uncertain Texas” (featuring Ronnie Dunn, Willie Nelson & Lee Ann Womack)

5. “You’re Only Happy When You’re Miserable” (featuring Ringo Starr)

6. “I’ll Show Me”

7. “What You Gonna Do Now” (featuring Lyle Lovett)

8. “The Border”

9. “Treetop Slim & Billy Lowgrass”

10. “Brown & Root, Brown & Root” (featuring Steve Earle)

11. “Texas Drought Part 1”  

Jordan Fann

For middle class artists such as myself, Facebook, Twitter and Instagram have become indispensable marketing tools. I’ve been grateful for these formats providing the opportunity to engage, one-on-one, and as a group, with a broad spectrum of people who are inclined, for their own reasons, to support my artistic endeavors.  

However, as I’ve tried to comprehend whether or not Facebook’s chief executive and operating officer have any real understanding of how to steer such a sprawling juggernaut through the truth-challenged-cyberscape of global ideology, I’ve been unable to shake the feeling that they simply lack the will.

Nothing I’ve read online or seen on cable news ventures to guess whether it’s even possible for Facebook to voluntarily police such an extraordinarily far-flung enterprise. Even if Mark Zuckerberg’s moral compass was lost in the aftermath of such an inconceivably large windfall - one can only imagine the learning curve that comes with hitting a Lotto of that size - turning a blind eye to Russian interference in our democratic process is, for me, profoundly troubling. Tack onto this the question of our personal data being pirated by tech giants all over the world and, in terms of moral decency, the Internet is looking more and more like the Wild West on virtual steroids. And perhaps because of a lack of substantial public outcry, our lawmakers appear unwilling to challenge the tech giants with anything resembling legislation. All of which set me to thinking that I have a moral responsibility to take conscientious stock of the Facebook platform and my use of it.  

A few days ago, I sat in on the first marketing meeting for a new Rodney Crowell album set to be released in late summer. I opened the discussion with these two questions: how can we promote the album without Facebook? And can we create our own Internet platform for the purpose of communicating with fans and followers? The answer was this: “if you want to stay in business, we can’t.” The marketing team validated my concerns about Facebook’s executives but went on to explain, that, like it or not, Facebook is the reigning information super highway and its fastest growing demographic is the baby boomer crowd---consumers who buy books, cds and vinyl records. In other words, the people I want to reach.

Many boomers, they continued, are just now finding their way onto the Internet and would be reluctant to follow me onto a new platform. The team asked that I consider this: both good and bad intentions exist on any heavily trafficked pathway and isn’t the music I make best served by utilizing Facebook’s positive potential. All of which, from a marketing point of view, made perfect sense. Even so, I wasn’t entirely convinced. Later on, Joanne Gardner put it this way: turning your back on eighty-plus thousand people who support your artistry just because the world is full of dirt-bags would be a damn shame. Which is the clarification that resonated most.

In the interest of full disclosure, I can honestly say that I feel a protective loyalty toward the folks who buy my records and concert tickets—which results in my striving to do the best work I can. But it is also important to acknowledge that I run a relatively small entertainment business and need all the help I can get. And so, with these things said, until such a time that we all reassess the Internet and social media’s shadowy downside, despite my misgivings, and ironically commencing with this message, my team will continue using Facebook, Instagram and Twitter.  

 Sign up for my mailing list to receive unfiltered news directly from me here:

Yours as ever,


Jordan Fann
Rolling Stone Premiers "Christmas Everywhere" Music Video

After much anticipation the “Christmas Everywhere” music video was premiered yesterday on both Rolling Stone and Rolling Stone Country Homepage.

Rodney Crowell’s nutty-as-a-fruitcake video for “Christmas Everywhere,” the title cut from his wholly original holiday release, is chock full of seasonal nostalgia even as it plays out like a chaotic, curdled egg nog-induced fever dream. Co-written by Crowell with acclaimed gypsy jazz guitarist John Jorgenson the tune, which also features the Mavericks’ Eddie Perez on guitar and album producer Dan Knobler on bass, is set to a giddy Western swing beat with lyrics that celebrate the ubiquitous, often dizzying nature of the season.

The video features a cast that includes Crowell’s daughter, grandchildren, son-in-law, and Deadwood actor W. Earl Brown as Santa Claus, and the entire clip was shot in Crowell’s garage with exquisitely detailed vintage set design by another of Crowell’s family members, his wife.

‘Luck cast a broad smile on the title track of Christmas Everywhere,” Crowell tells Rolling Stone Country, “when esteemed film director Tom Kreuger teamed up with set designer Claudia Church to produce a no-holds-barred video clip [with] a cast of fun-loving middle-Tennessee thespians. The post-shoot clean-up is still in progress.”

Two minutes into the video, as the room is engulfed in feathers, falling like snow from a Nor’easter, singer Lera Lynn appears out of thin air and proceeds to sit on Santa’s lap. As the kiddies settle in for what sounds like it’ll be a sweet, romantic wish from the sultry singer, she asks the big man for “a time machine that I could ride/ back to the day John Lennon died,” reasoning that she could use it to stop the musician’s assassin, thereby altering the course of history. The odd but deeply moving interlude then gives way to whirling, swirling holiday revelry as the Christmas chaos resumes.

In celebration of Christmas Everywhere, Crowell will join Vince Gill and Amy Grant for the couple’s unprecedented twelve-night “Christmas at the Ryman” series of shows at the Nashville landmark. The concerts begin Wednesday, November 28th, and will run through December 21st.

Christmas Everywhere is now available across digital platforms, on compact disc, and on vinyl via New West Records.

Check out the article written on Rolling Stone.

Hannah Sutherland
'Christmas Everywhere' is coming November 2

A Note from Rodney Crowell:

My childhood memories of Christmas aren’t warm and fuzzy. The holidays were more of a nuisance for my parents than cause for celebration. Which is not to say that on behalf of their only child they didn’t give the season a halfhearted try. I could count on a scrawny tree draped with a strand of bubble lights, the odd ornament here and there, fake icicles and a glittery star on top. Though money was always an issue, it was rare that I was deprived of the Lincoln logs, tinker toys and Chinese checkers that littered the post-season bedroom floors belonging to more well-to-do families whose children I sometimes played with. There were Christmases when I found under the tree an electric football set, a Daisy pump air-rifle and a basketball goal that never got nailed up. But, there were also mornings when apples, oranges, hickory nuts and a hammer signified that year’s bounty. Which is to say that Christmas in our household was mostly a wait and see proposition.

On the way to becoming a successful songwriter, I was blessed with the births of four daughters, each of them accompanied by a hefty royalty check. Which triggered my belief that some children enter the world with their own money. Since the arrival of my first child, the Crowell family has detonated forty-one Christmas bombs, discarding in that time-span enough wrapping-paper to be held accountable for the deforestation of, I’m guessing here, twenty-plus acres of prime timberland. In defense of our participation in the commercialization of baby Jesus’s birth, the best I can offer is the fact that for the last two decades we’ve conscientiously recycled the aftermath.

A few years back it became evident to my family, and indeed myself, that I’d gone sour on all things related to Christmas, a source of particular disappointment to my wife, Claudia, whose creative flair peaked with the holidays. Sentimental music, sugar cookies, sparkly decorations, family warmth and thoughtful gift-giving are as much a part of who she is as her intelligence, humor, natural beauty and kindness. In contrast to her plentiful cheer, by the end of the new millennium’s first decade, my contribution to the yule-tide spirit of giving and receiving had been reduced to mumbling a few sullen words about replenishing my socks and underwear drawer. As for presents for those I love, my imagination had grown even duller.

One rather warm December day in 2011, I heard on satellite radio, Hayes Carll’s soulfully written “Grateful for Christmas” and was so moved by the song---it’s wry humor and bare-bones honesty---that I ditched whichever errand or appointment I’d set out on in favor of an honest-to-God Christmas shopping spree. Main Street in downtown Franklin, Tennessee is a six-block slice of small-town Americana, lined on both sides with small businesses, store-fronts and a fine-dining restaurant boasting a vintage drugstore/soda-fountain sign from the 1930’s. It was there, in less than three hours, and without setting foot in the mall, that I managed to snag a carload of meaningful presents for my family and close friends. Much to Claudia’s surprise, this new-found merriment lasted well into the new year. Not only did “Grateful for Christmas” jolt me out of a self-indulgent funk, it also tweaked my creative curiosity. I began mulling over the idea of writing an album’s worth of original Christmas songs. As far back as the early eighties, for fun and without bothering to put words down on paper, I’d made up with my two oldest daughters, Hannah and Caitlin, silly little Christmas songs that we’d sing around the house. “All For Little Girls and Boys” is one of those tunes that somehow made it onto a cassette tape. Around the same time, in a proper studio, I recorded with my kids a carefree piece I’d written called “Very Merry Christmas,” which, in lieu of Christmas cards, we sent out that year on cassette tape. In the mid-nineties, during a writing session, Chuck Cannon and I were forced to bail on whichever hit-song we were trying unsuccessfully to coax out of hiding and instead penned “Christmas Makes Me Sad.” Both Chuck and I thought it was a perfectly fine Christmas song, but neither of us attempted to do anything with it.

Perhaps ten-years-later, Mary Karr and I were just beginning to collaborate on songs for the album Kin: Songs by Mary Karr and Rodney Crowell. “Christmas in Vidor” (Vidor is a small town on the Texas/Lousiana border) is the second song we wrote together. “Vidor” didn’t fit the record we had in mind but I held on to the cell phone demo we made in Mary’s New York City apartment just in case.

In early 2015, I was touring Great Britain as a member of the Transatlantic Sessions when the notion of writing an album’s worth of original Christmas songs began to creep back into my creative process. However, nearly a year passed before I hit on the idea of writing a song referencing one of those tacky, artificial Christmas trees with the tri-colored light wheel that seemed to flood the market in the early sixties. In the process of composing “Merry Christmas From an Empty Bed,” I sent what I had to Brennan Leigh, who was living in Austin at the time, and asked if she’d write a verse. I was delighted with what she sent back. The Christmas record, I realized, was beginning to take shape.

Sometime around Christmas 2016 I came home to find my granddaughters, Addie and Iris---age ten and eight--- sitting side-by-side and playing on our old upright piano a melody that to my ear sounded like something from the early nineteenth century. I asked them what song they were playing and in unison they replied, “something we just made up.” I hit record on my IPhone and asked them to play it again. Using their melody almost entirely, I spent a couple of months composing the words to “Come Christmas.” A generation had passed since I first made up a Christmas song with their mother.

Sometime later, in rapid succession, I came up with “Christmas in New York,” “When the Fat Guy Tries the Chimney On For Size,” “Christmas For the Blues” and, again with Mary Karr, “Let’s Skip Christmas This Year.”  With those tunes in the bag, I began entertaining the rather vague idea of writing something that Spike Jones might have recorded in his heyday. The lyrical ideas for “Christmas Everywhere,” came fast, as did the realization that if I were ever going to realize the song’s compositional possibilities, I would need help from the premier Gypsy Jazz guitarist and composer, John Jorgenson. John and his wife, Dixie, are close friends of mine and Claudia’s and one night after dinner, John and I slipped off to another wing of their house and pulled the song together---including the dream sequence in which a child asks Santa for a time machine in which to go back and prevent John Lennon’s murder.

I was finally ready to record an album of original Christmas songs. With Dan Knobler producing and some very gifted musicians and vocalists lending their talents, the making of the album Christmas Everywhere rank as some of the most enjoyable recording sessions I’ve ever experienced. The record was close to being finished when it occurred to me that to set the tone for the albums mostly irreverent subtext, I needed to compose a lyrical prelude. In honor of Clement Moore, who wrote the poem we all know as, “The Night Before Christmas,” I came up with a short piece called “Clement’s Lament (We’ll See You in The Mall).” Tania Hancheroff and Kim Keyes stopped by the studio and performed the tune with Jordan Lehning’s orchestral backing and the album was pronounced complete.

Seasons Cheer,
Rodney Crowell

Mike Fabio
Rolling Stone: "Rodney Crowell on ‘Ain’t Living Long Like This,’ Songwriting Success"

Rolling Stone interviews Rodney Crowell.

 “My reputation as a songwriter is what got me there,” Crowell says. “I got a record deal because people were recording my songs early and covering them. Thank heavens, they kept me in business. I bow in earnest to those who kept me in business. I think that Warner Bros. signed me to a recording contract [thinking], ‘This guy’s producing material that’s making it to the top. He’s bound to hit sooner or later.”

Read more here: Link

Jordan Fann
'Acoustic Classics' available July 13

Grammy Winning Roots Icon RODNEY CROWELL to Release ACOUSTIC CLASSICS July 13th

Acclaimed Songwriter, Performer and Author Distills 12 of his Beloved Songs

Grammy-winning roots troubadour RODNEY CROWELL announces the July 13th release of his new album, ACOUSTIC CLASSICS, the debut entry from his newly-launched imprint, RC1. Exclusive pre-order bundles featuring the new cd and vinyl can be found on Crowell's website,

A creative powerhouse with no off switch, the acclaimed songwriter, musician, author and poet is adding yet another title to his already esteemed pedigree; label head.  As prolific today, as he was in his twenties, Crowell has released sixalbums in the last ten years.  Next on deck is a re-distilled, acoustic presentation of 12 masterfully-crafted tunes from his 40-plus-year career in a truly intimate setting.  “With the help of some of my favorite musicians, I’ve made all acoustic instrument recordings of ten of my most recognizable songs. Also included is a couple more recently written that I want people to hear. There’s even a revised version of my most commercially successful song, "Shame on the Moon,” said Crowell.  “All in good fun.”

Marking Crowell’s 19th solo effort and the first release from his new label, RC1, the project features songs originally made famous by the likes of Emmylou Harris, Waylon Jennings, The Oak Ridge Boys, Bob Seger, Tim McGraw and more. But for ACOUSTIC CLASSICS, Crowell peels back the layers of familiarity on these standouts of the American song cannon, revealing the original spirit behind each track’s creation.

Mike Fabio