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Tulsa, OK - The public at large hasnt heard much from John Fullbright since his critically lauded album Songs; a chasm of eight years that seemed unthinkable for someone with so much hypeincluding a GRAMMY nod, an Americana Music Association Emerging Artist nomination and awards from ASCAP and the Oklahoma Music Hall of Famesurrounding his early career. Why did it take so long?

Its been a process of learning how to be in a community of musicians and less focusing on the lone, depressed songwriterjust playing something that has a beat and is really fun, Fullbright says. On September 30th, Fullbright is set to end the dry spell with the release of his new LP, The Liar (via Blue Dirt Records / Thirty Tigers) opening up his newfound trust in musical collaboration for the world to hear. Thats not to say there are no songs on this record where I depart from that because there are, but there's also a band with an opinion. And that part is new to me.

The Liar was recorded at Steve and Charlene Ripleys farm-to-studio compound in northeastern Oklahoma. After Steves passing, Charlene flirted with the idea of selling the studio property, so Fullbright mobilized quickly to ensure he was able to record there before it changed hands. He threw together a band made up of, as Fullbright calls them, the usual suspects. Anyone fleetingly familiar with Oklahoma music will recognize the roster, which includes Jesse Aycock, Aaron Boehler, Paul Wilkes, Stephen Lee, and Paddy Ryan, all of whom are in more bands than seems possible. Along with a few more friends stopping in to lay down takes, they finished the songs and tracked the album with engineer Jason Weinheimer in a whirlwind four days.

It was such a collaborative thing with some really cool voices, Fullbright said, expressing surprise at the ease of the process. It's just like playing music in Tulsa. Everybody kind of does whatever they do, and it works.

The grab-and-go momentum landed Fullbright in the studio with some old songs (Unlocked Doors also appeared on 2009s Live at the Blue Door), some new, and some unfinished, making his newfound trust in musical collaboration essential to the arrangements and reflected fully on the final album. The Liar, as a result, utilizes emotional and instrumental dynamics in ways Fullbright hasnt allowed himself to explore fully before. Theres a noticeable slack here, an indulgent instrumental break there, and the general feeling that the tight-lipped John Fullbright who agonized over the writing process and then hesitated to talk about the meanings behind his songs in the past has eased up.

What rules didnt I have? Fullbright says about his former songwriting self. Even like, how many syllables were in a line, I had arbitrary rules for. So much of that has gone out the door, and Im so much happier. Its really just the idea that you dont have to do this by yourself. Its so much more fun to collaborate.
Tulsa, OK - The public at large hasnt heard much from John Fullbright since his critically lauded album Songs; a chasm of eight years that seemed unthinkable for someone with so much hypeincluding a GRAMMY nod, an Americana Music Association Emerging Artist nomination and awards from ASCAP and the Oklahoma Music Hall of Famesurrounding his early career. Why did it take so long?

Its been a process of learning how to be in a community of musicians and less focusing on the lone, depressed songwriterjust playing something that has a beat and is really fun, Fullbright says. On September 30th, Fullbright is set to end the dry spell with the release of his new LP, The Liar (via Blue Dirt Records / Thirty Tigers) opening up his newfound trust in musical collaboration for the world to hear. Thats not to say there are no songs on this record where I depart from that because there are, but there's also a band with an opinion. And that part is new to me.

The Liar was recorded at Steve and Charlene Ripleys farm-to-studio compound in northeastern Oklahoma. After Steves passing, Charlene flirted with the idea of selling the studio property, so Fullbright mobilized quickly to ensure he was able to record there before it changed hands. He threw together a band made up of, as Fullbright calls them, the usual suspects. Anyone fleetingly familiar with Oklahoma music will recognize the roster, which includes Jesse Aycock, Aaron Boehler, Paul Wilkes, Stephen Lee, and Paddy Ryan, all of whom are in more bands than seems possible. Along with a few more friends stopping in to lay down takes, they finished the songs and tracked the album with engineer Jason Weinheimer in a whirlwind four days.

It was such a collaborative thing with some really cool voices, Fullbright said, expressing surprise at the ease of the process. It's just like playing music in Tulsa. Everybody kind of does whatever they do, and it works.

The grab-and-go momentum landed Fullbright in the studio with some old songs (Unlocked Doors also appeared on 2009s Live at the Blue Door), some new, and some unfinished, making his newfound trust in musical collaboration essential to the arrangements and reflected fully on the final album. The Liar, as a result, utilizes emotional and instrumental dynamics in ways Fullbright hasnt allowed himself to explore fully before. Theres a noticeable slack here, an indulgent instrumental break there, and the general feeling that the tight-lipped John Fullbright who agonized over the writing process and then hesitated to talk about the meanings behind his songs in the past has eased up.

What rules didnt I have? Fullbright says about his former songwriting self. Even like, how many syllables were in a line, I had arbitrary rules for. So much of that has gone out the door, and Im so much happier. Its really just the idea that you dont have to do this by yourself. Its so much more fun to collaborate.
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The Liar
Artist: John Fullbright
Format: CD
New: Available $12.98
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Tulsa, OK - The public at large hasnt heard much from John Fullbright since his critically lauded album Songs; a chasm of eight years that seemed unthinkable for someone with so much hypeincluding a GRAMMY nod, an Americana Music Association Emerging Artist nomination and awards from ASCAP and the Oklahoma Music Hall of Famesurrounding his early career. Why did it take so long?

Its been a process of learning how to be in a community of musicians and less focusing on the lone, depressed songwriterjust playing something that has a beat and is really fun, Fullbright says. On September 30th, Fullbright is set to end the dry spell with the release of his new LP, The Liar (via Blue Dirt Records / Thirty Tigers) opening up his newfound trust in musical collaboration for the world to hear. Thats not to say there are no songs on this record where I depart from that because there are, but there's also a band with an opinion. And that part is new to me.

The Liar was recorded at Steve and Charlene Ripleys farm-to-studio compound in northeastern Oklahoma. After Steves passing, Charlene flirted with the idea of selling the studio property, so Fullbright mobilized quickly to ensure he was able to record there before it changed hands. He threw together a band made up of, as Fullbright calls them, the usual suspects. Anyone fleetingly familiar with Oklahoma music will recognize the roster, which includes Jesse Aycock, Aaron Boehler, Paul Wilkes, Stephen Lee, and Paddy Ryan, all of whom are in more bands than seems possible. Along with a few more friends stopping in to lay down takes, they finished the songs and tracked the album with engineer Jason Weinheimer in a whirlwind four days.

It was such a collaborative thing with some really cool voices, Fullbright said, expressing surprise at the ease of the process. It's just like playing music in Tulsa. Everybody kind of does whatever they do, and it works.

The grab-and-go momentum landed Fullbright in the studio with some old songs (Unlocked Doors also appeared on 2009s Live at the Blue Door), some new, and some unfinished, making his newfound trust in musical collaboration essential to the arrangements and reflected fully on the final album. The Liar, as a result, utilizes emotional and instrumental dynamics in ways Fullbright hasnt allowed himself to explore fully before. Theres a noticeable slack here, an indulgent instrumental break there, and the general feeling that the tight-lipped John Fullbright who agonized over the writing process and then hesitated to talk about the meanings behind his songs in the past has eased up.

What rules didnt I have? Fullbright says about his former songwriting self. Even like, how many syllables were in a line, I had arbitrary rules for. So much of that has gone out the door, and Im so much happier. Its really just the idea that you dont have to do this by yourself. Its so much more fun to collaborate.
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