Pat Reedy makes honest honky-tonk music for the modern world, mixing twang, blue-collar songwriting, working-class pride, and an unconventional backstory, all of which culminates in his new album That's All There Is, out April 6th on Muddy Roots Records. Reedy has a fresh take on '70's indebted country, with a baritone that will suck you in and the hardscrabble background that helps his songs sound natural, not forced. That's All There Is was written during breaks in Reedy's construction job helping to build high-rises around Nashville, with lyrics scribbled down on scraps of paper and discarded pieces of wood. Maybe that's why these songs - with their warm, rough-around-the-edges charm - sound different than the contemporary country-pop hits recorded in Reedy's adopted hometown of Nashville. In a city full of Hollywood cowboys and wannabe outlaws, Reedy is the real deal, more influenced by the artists whose filled the airwaves during his childhood years - including Dwight Yoakam, Mark Chesnutt, and George Jones - than anything in today's mainstream. A1 Bloodshot Heart, A2 Lucky I'm Alive, A3 Nashville Tennessee at 3Am, A4 Wedding Ring, A5 You Don't Have to Tell Me Again, A6 Fare Thee Wall, B1 Same to Me, B2 That's All There Is (And There Ain't No More), B3 Conversation with Jesus, B4 Funny Thing About a Hammer, B5 Pennsylvania Hills, B6 Cool Train Blues
