Cory Morrow

Cory Morrow

Josh Fuller

Fri · November 24, 2017

Doors: 6:00 pm / Show: 8:30 pm

$30.00 - $476.00

This event is 21 and over

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Cory Morrow
Cory Morrow
Happiness has always come naturally to Cory Morrow. With his rollicking, soulful, feel-good Texas country, he has made thousands jump on tabletops, shimmy, scream, and suspend worries for almost two decades, like a honky-tonk pied piper––and he shows no signs of stopping. But these days, Morrow is also devoted to something more.

“I’ve always been able to find happiness and help others find happiness,” he says. “But there’s a difference between happiness and joy. Now, I feel like there’s a deeper sense of joy that’s not circumstantial.”

That deep joy courses throughout The Good Fight, released June 16, 2015. The 15-song collection was recorded at East Austin’s 12th Street Sound and polished at the Zone Recording Studio in nearby Dripping Springs, Texas. Reflecting on the process from his home in Austin, Morrow says, “I want it to be right. Looking back on other albums, I feel like I’ve settled on certain things. And this time, I really don’t want to settle.”

Listening to The Good Fight, it’s immediately clear that this is a record brimming with guts, truth, and growth––not compromises.

Morrow sings hard, proving his smooth, fiery drawl has only gotten better with age. The music revels in a life full of love and purpose, drawing on gritty rock, thumping gospel, and Morrow’s signature juke-joint country. Many of the songs address faith and relationships, both human and holy, with urgency, gratitude, and wonder. “I think there has always been a thread of spirituality in everything I’ve done––I’ve always been searching for something more,” he says. “But in the last five or six years, I’ve started to actually find it. And in the last three or four years, I’ve begun to come into really deep contact with it––to walk in it.”

As a songwriter, Morrow has retained his token wit and self-deprecating humor, two traits that play well with the album’s loftier themes. His circle of collaborators continues to expand: Nashville aces Brian Keane and Mando Saenz, along with Texas troubadours such as Carter Beckworth, joined an existing cast of favorites that includes the sagacious Owen Temple.

Written with Keane, “I Don’t Mind” captures the bliss of submitting your will to that of a higher power with piano-fueled, tent-revival panache. “I love the way that it speaks and the truth that it speaks,” Morrow says of the song.

Another track that Morrow tackles with a gospel-worthy aplomb, “Dreams” was penned with friend Matt Davis, who runs beloved Tomball, Texas venue Main Street Crossing. “I think we’re all dreaming to do more,” he says. “I find my dreams changing. They’re getting bigger in that they’re focusing less on me and more on what I can do for others. And that can be a really scary concept for me, because I’ve spent most of my life doing for myself––and that was pretty easy. And pretty fun,” he says, laughing.

When asked what “doing for others” looks like for him, Morrow doesn’t hesitate: “Serving. It’s little things all the time.” He mentions his band, and the urge to care for them as people and friends. He brings up his wife, Sherry, and his dedication to her, as well as their shared commitment to supporting organizations such as the Salvation Army in new, concrete ways. “It’s looking around my community and just seeing where there’s loss or grief or suffering. Is there any way I can be there for somebody?” he says. “Even if it’s for me to just be in the room, quiet and available.”

His newfound dedication to seeking out hurt and need around him emanates throughout the album. “In and Out of Light” explores the ideal balance between consistency and change, and serves as a call to see the downtrodden we so often choose to overlook. He sounds a similar cry on the soaring “Let Us Love,” a chest-pounding anthem pleading for open hearts, and “Hiding Anything,” in which he encourages listeners to “fall into arms that you can’t see.”

“Old Soul” is signature Morrow, gleefully mixing profound and silly to create a song that’s introspective, enlightening, and playful. “I’m an old soul, searching for a new way to rock and roll,” he sings over a flush band with standout guitar and Hammond B-3. A jubilant rock breakdown pays homage to early Morrow heroes like Led Zeppelin, and it’s clear he’d be hard-pressed to have more fun.

Pickup lines are turned on their head in “Old with You” as Morrow celebrates settling down. He penned the poignant “Little Man” for son Bear, his oldest. A four-year-old, two-and-a-half-year-old, and six-month-old twin boys fill his house with a different kind of crazy these days, keeping the Morrows perpetually on their toes.

Morrow laughingly refers to “Running After You” as his “blanket song”––a song that covers all of his boys. “It’s the idea that they’re each individually unique and beautiful in their own way, but all loved exactly the same,” he says. In the vein of “Love Without End, Amen,” written by fellow Texan Aaron Barker and immortalized by George Strait, “Running After You” is a masterfully delivered ode to fatherly love, both earthly and divine. “I want my sons to know that truth and love from the moment that they can actually speak so that when they get older, it won’t be such a far distance from them to travel––to come back home,” he says.

When asked if love serves as a unifying theme for The Good Fight, Morrow brings up the parable of “The Prodigal Son,” and the story’s precarious conclusion: Does the angry, older son ultimately follow his father into the party to celebrate his lost brother’s return?

“I think that’s what the record is for me,” Morrow says. “Everybody is the prodigal son––they’ve gotten lost and experienced love and redemption. And everybody is also very jealous of anybody else who’s gotten the kind of love they think they deserve. I think that the point of that story is that love is there, no matter what. You can’t earn it, you can’t make it greater, and you can’t do anything to make it smaller.” He pauses before adding, “Yeah. I’d love for the record to be about that kind of love. Perfect love.”
Josh Fuller
Josh Fuller
Small towns in Texas are rich in life experiences and a unique culture that is hard to put into words. Families are close, friendships are lifelong, laughter is loud and abundant, and love is limitless. Countless country songs have been made about it and the appeal of the lifestyle never wanes. One such artist who brings this life to the forefront is singer/songwriter Josh Fuller. Fuller, who was raised on a dairy farm in New Waverly, Texas, learned the value of respect, hard work, and the benefits of a strong faith and carries those traits with him to this day. He married his high school sweetheart, is raising their two sons to be “country to the bone,” and has a band of friends who happen to be talented and hardworking to boot!

As Fuller gears up for the release of his second studio album, KEEP ON BEIN’ ME (Sept. 4, 2015), audiences can expect songs that are very personal reflections on the southern way of life. Inspired by Garth Brooks, Travis Tritt, Alan Jackson, Chris LeDoux, Robert Earl Keen, Keith Whitley, and other musical storytellers, Fuller’s songs showcase a quick-wit and clever mind. Fuller’s often humorous perspective has earned him a loyal following, four radio singles (“Road Trip,” “Old Whiskey,” “Gringo Loco,” and “On The Radio” from KEEP ON BEIN’ ME), and a career path that began when his father bought him a guitar.

“The strings were plastic like you use in a weed-eater,” Fuller jokes. “I bought a bunch of songbooks of my favorite singers at the time; the first Texas Country song I learned to play was Charlie Robinson’s ‘My Hometown’ and I learned to play harmonica by listening to Cross Canadian Ragweed’s ‘Boy’s from Oklahoma,” over and over again. I slowly but surely learned to play the chords by matching the strumming together to make what was loosely considered, music.”

Singing in competitions (including a gig in Las Vegas), Fuller was introduced to Texas Country by co-workers. Seeing a place for artists to be singer/ songwriters, his first paid gig was a trial by fire as he opened for Stoney LaRue and Brandon Jenkins. Playing in various formations of a band until 2012, Fuller’s big break came when Michael Berry, “The Czar of Talk Radio,” offered support as a mentor and sponsor, and a performance residency alongside Texas Legend Dub Miller at his Stafford venue, Redneck Country Club.
“Michael challenged me to write him a theme song,” Fuller recalls. “I sold everything I had to pay for one day of studio time and it worked; Michael still uses that song! He took me under his wing and was tough on me, when I needed it. I learned so much from him about life and business. I am forever grateful for his generosity and friendship.”

In January of 2013, Fuller debuted DIRT AND DIESEL, a Phil Pritchett produced effort, and took his music to radio. Texas Country was introduced to this high-octane artist with heart, one who takes the word friendship seriously, and one who credits his success to his band – his drummer and lead guitarist have stuck it out over the years and his current line-up has been solid for the last five.
“They are a tight, cohesive unit and have jumped through every fiery hoop that has been dangled in front of us,” Fuller states. “They have risen to every challenge and I owe all my recent success to their loyalty, talent and friendship.”
Fuller’s live shows are something to see and he has shared the stage with such artists as Billy Joe Shaver, Charlie Daniels, Cory Morrow, Roger Creager, Bleu Edmonson, Tracy Byrd, Rick Trevino, David Allen Coe, Ray Wylie Hubbard, Charlie Robison, Cody Canada, Johnny Lee, David Lee Murphy, Little Texas, Robert Earl Keen, Brandon Rhyder, and more.

With energy to spare, it is obvious Fuller is on a mission to make the shows personal and unique. Taking the time to get to know their audience and tailor each show, they work hard to never repeat a performance.
“I find that it doesn’t matter what mood I am in, or how hard my day or week was, when I strum the first chord, all my troubles go away and I am ready to put on as high of an energy show as I can for the people listening,” he states. “I want them to be able to forget everything for an hour or two and just enjoy being alive, the way I feel when I strap on the guitar.”

Fuller’s small town roots are ever present and his charm and zest for life, and music, is contagious. As he works to release his second album, KEEP ON BEIN’ ME, he is reminded of why he pursues this dream. And, he hopes you come along for the ride!
“When I see a husband and wife dancing and holding hands, or families at a show where the kids are dancing with their parents, it makes me feel good. The world can be so full of stress and distraction, it’s nice to see that my music can give people an excuse to come together for a positive reason and enjoy each other.”
Venue Information:
The Redneck Country Club
11110 W Airport Blvd
Stafford, TX, 77477