Lee Brice is a craftsman, the kind whose boundless desire to hone his skills and relentless pursuit of perfection are matched only by his humility about the entire process. His new album, I Don’t Dance, is a showcase for his painstaking approach to writing and recording, with his distinctive fingerprints clearly emblazoned on every element of the album. While Brice is now known as reliable chart- topping Nashville hit-maker whose 2014 performance on the Academy of Country Music telecast — where he picked up the trophy for “Song of the Year”— “stole the show” (USA Today), there was a time when he was only recognized for his work behind the scenes.
After relocating from his native South Carolina to Music City, the former Clemson lineman dove headfirst into his craft, writing on his own and with a slew of talented musicians he fell in with. He found early success, with songs picked up by established artists like Jason Aldean and Keith Gattis. Though they may have been sung by other artists, those songs were stories from deep within Lee’s own heart.
Randy Houser is a man refreshed. “I don’t know how it happened, but everything in my life has started lining up,” says the Lake, Mississippi native. “I must have done somebody right in the past.”
Those positive vibes of renewal ripple through Houser’s three consecutive No. 1 hits, “How Country Feels,” “Runnin’ Outta Moonlight” and “Goodnight Kiss,” which was Houser’s first No. 1 as a songwriter though he has written numerous hits for artists over the years. “How Country Feels” was his first-ever No. 1 at radio, and both it and “Runnin’ Outta Moonlight” earned RIAA Platinum certifications. “Like A Cowboy” was a Top 5 smash and earned Houser rave reviews for his “pure, unencumbered vocal showcase” (Taste of Country). All four songs are from Houser’s Stoney Creek Records debut, How Country Feels, released in early 2013.
Houser cut How Country Feels with producer Derek George, a long-time friend and fellow Mississippian he had wanted to work with for over a decade. It’s been called “a buoyant, hook- filled outing” (Washington Post) that’s infused with “a balance of revelry and introspection” (Milwaukee Journal-Sentinel) and shows off Randy’s powerhouse voice, hailed “one of the best in Nashville” by Great American Country (GAC) and numerous other critics.