Addison Holmes has her hands full. Marriage changes a woman, and pregnancy hormones are no joke. But despite her promise to retire from dangerous P.I. work, she has no choice but to take this case. Twenty years ago, her father and his partner cracked the case of their careers. But it was all a set up. They sent the wrong men to prison, and now it's time for the real culprits to tie up loose ends. Her father is dead, but his partner, who happens to be her mom's new husband, is very much alive. At least for the time being. Discovering the truth is no easy task, but saving her father's legacy and her step-father's life is her top priority. Because family means everything.
Julie Walker thought she found true love with Jase. Until he betrayed her in the worst way, with one of her best friends. Devastated and heartbroken she runs away, leaving behind her family and friends. She starts a new life filled with secrets.When Julie meets Dean, she thinks he is the answer to all her prayers, but Dean isn't who she thinks he is.Jase Gibson is a player. Even when he had the girl of his dreams, he still played. When he lost Julie, his life fell apart. He turned to whiskey and women, to fill the void. But, only Julie will ever make him whole.Nine years later, Julie's back home, but she's not alone. What will happen when all of Julie's secrets are uncovered?Jase vowed that if he ever got her back, he would do right by her and never let her go. Will he let Julie's secret keep them apart?When Julie's ex-husband refuses to be her ex, Jase must choose to help her or hang on to his anger.Jase and Julie have to find a way to give their whiskey lullaby a happy ending.
(Piano/Vocal/Guitar Artist Songbook). 15 songs from this contemporary country chart-topper, including: He Didn't Have to Be * I'm Gonna Miss Her (The Fishin' Song) * Me Neither * Mud on the Tires * Two People Fell in Love * Who Needs Pictures * Wrapped Around * and more.
Rock & roll has transformed American culture more profoundly than any other art form. During the 1960s, it defined a generation of young people as political and social idealists, helped end the Vietnam War, and ushered in the sexual revolution. In Dixie Lullaby, veteran music journalist Mark Kemp shows that rock also renewed the identity of a generation of white southerners who came of age in the decade after segregation -- the heyday of disco, Jimmy Carter, and Saturday Night Live. Growing up in North Carolina in the 1970s, Kemp experienced pain, confusion, and shame as a result of the South's residual civil rights battles. His elementary school was integrated in 1968, the year Kemp reached third grade; his aunts, uncles, and grandparents held outdated racist views that were typical of the time; his parents, however, believed blacks should be extended the same treatment as whites, but also counseled their children to respect their elder relatives. "I loved the land that surrounded me but hated the history that haunted that land," Kemp writes. When rock music, specifically southern rock, entered his life, he began to see a new way to identify himself, beyond the legacy of racism and stereotypes of southern small-mindedness that had marked his early childhood. Well into adulthood Kemp struggled with the self-loathing familiar to many white southerners. But the seeds of forgiveness were planted in adolescence when he first heard Duane Allman and Ronnie Van Zant pour their feelings into their songs. In the tradition of music historians such as Nick Tosches and Peter Guralnick, Kemp masterfully blends into his narrative the stories of southern rock bands --from heavy hitters such as the Allman Brothers Band, Lynyrd Skynyrd, and R.E.M. to influential but less-known groups such as Drive-By Truckers -- as well as the personal experiences of their fans. In dozens of interviews, he charts the course of southern rock & roll. Before civil rights, the popular music of the South was a small, often racially integrated world, but after Martin Luther King Jr.'s assassination, black musicians struck out on their own. Their white counterparts were left to their own devices, and thus southern rock was born: a mix of popular southern styles that arose when predominantly white rockers combined rural folk, country, and rockabilly with the blues and jazz of African-American culture. This down-home, flannel-wearing, ass-kicking brand of rock took the nation by storm in the 1970s. The music gave southern kids who emulated these musicians a newfound voice. Kemp and his peers now had something they could be proud of: southern rock united them and gave them a new identity that went beyond outside perceptions of the South as one big racist backwater. Kemp offers a lyrical, thought-provoking, searingly intimate, and utterly original journey through the South of the 1960s, '70s, '80s, and '90s, viewed through the prism of rock & roll. With brilliant insight, he reveals the curative and unifying impact of rock on southerners who came of age under its influence in the chaotic years following desegregation. Dixie Lullaby fairly resonates with redemption.
Things are looking up for Addison Holmes. She's about to take her P.I. exams, she's living in sin with the man of her dreams, and she hasn't had a phone call from her mother in three whole days. But she should have known things were too good to last. When Rosemarie Valentine's fingerprints are found on the murder weapon used to kill a sex shop owner, it's up to Addison and the gang to clear her name before Rosemarie is thrown in the pokey with no hope of getting out again. With the help of Nick, Savage, Kate, and Addison's mom and sister, what could possibly go wrong?
Whisperin' Bill: An Unprecedented Life in Country Music presents a revealing portrait of Bill Anderson, one of the most prolific songwriters in the history of country music. Mega country music hits like "City Lights," (Ray Price), "Tips Of My Fingers," (Roy Clark, Eddy Arnold, Steve Wariner), "Once A Day," (Connie Smith), "Saginaw, Michigan," (Lefty Frizzell), and many more flowed from his pen, making him one of the most decorated songwriters in music history. But the iconic singer, songwriter, performer, and TV host came to a point in his career where he questioned if what he had to say mattered anymore. Music Row had changed, a new generation of artists and songwriters had transformed the genre, and the Country Music Hall of Fame member and fifty-year Grand Ole Opry star was no longer relevant. By 1990, he wasn't writing anymore. Bad investments left him teetering at bankruptcy's edge. His marriage was falling apart. And in Nashville, a music town where youth often carries the day, he was a museum piece--only seen as a nostalgia act, waving from the stage of the Grand Ole Opry. Anderson was only in his fifties when he assumed he had climbed all the mountains he was intended to scale. But in those moments plagued with self-doubt, little did he know, his most rewarding climb lie ahead. A follow-up to his 1989 autobiography, this honest and revealing book tells the story of a man with an unprecedented gift, holding on to it in order to share it. Known as "Whisperin' Bill" to generations of fans for his soft vocalizations and spoken lyrics, Anderson is the only songwriter in country music history to have a song on the charts in each of the past seven consecutive decades. He has celebrated chart-topping success as a recording artist with eighty charting singles and thirty-seven Top Ten country hits, including "Still," "8 x 10," "I Love You Drops," and "Mama Sang A Song." A six-time Song of the Year Award-winner and BMI Icon Award recipient, Anderson has taken home many CMA and ACM Award trophies and garnered multiple GRAMMY nominations. His knack for the spoken word has also made him a successful television host, having starred on "The Bill Anderson Show," "Opry Backstage," "Country's Family Reunion," and others. Moreover, his multi-faceted success extends far beyond the country format with artists like James Brown, Aretha Franklin, Dean Martin, and Elvis Costello recording his songs. Today, thanks to the support of musical peers and a few famous friends who believed in him, Anderson continues to forge the path of lyrical integrity in music, harnessing his ability to craft a song that tells a familiar story, grabs you by the heart and moves you. Modern day examples include "Whiskey Lullaby" (Brad Paisley and Allison Krauss), "Give It Away" (George Strait), "A Lot of Things Different" (Kenny Chesney), and "Which Bridge to Cross" (Vince Gill). A product of a long-gone Nashville, Anderson worked to reinvent himself, and this biography documents Anderson's fifty-plus-year career--a career he once thought unattainable. Richly illustrated with black-and-white photos of Anderson interacting with the superstars of American music, including such legends as Patsy Cline, Vince Gill, and Steve Wariner, this book highlights Anderson's trajectory in the business and his influence on the past, present, and future of this dynamic genre.
(Guitar Recorded Versions). Our matching folio to this superstar's celebration of the 6-string features notes & tab for all 16 tunes, including: Cliffs of Rock City * Cluster Pluck * Come On In * Departure * Huckleberry Jam * Kim * Les Is More * Playing with Fire * Turf's Up * and more.
Addison Holmes is a diamond in the rough, though she’s feeling more like a big lump of coal. Teaching history in Whiskey Bayou, Georgia isn’t exactly the most exciting job. Until she finds her principal dead in the parking lot of the seedy gentleman’s club. When Addison finds herself out of a job, she turns to her best friend, Kate, who owns the McClean Detective Agency. Addison is a natural at the job. Living in a small town has given her all the skills she needs to spy on other people and pass silent judgment. Sometimes being nosy has its advantages. When her principal’s murder reveals more Whiskey Bayou secrets than people are comfortable with, the suspect list grows longer than Addison’s arm. Fortunately, the detective in charge seems more than capable of finding the killer and driving her crazy at the same time. "Fans of Stephanie Plum are going to love Addison Holmes." “An entertaining, fun read.” “This book is hysterical. It’s a true comedy of errors…A perfect summer read… lighthearted and funny” ”I haven’t read a book this funny since the first few Janet Evanovich books… A definite recommendation for everyone.” The Addison Holmes Series Whiskey Rebellion Whiskey Sour Whiskey For Breakfast Whiskey, You're the Devil Whiskey on the Rocks Whiskey Tango Foxtrot Whiskey and Gunpowder Whiskey Lullaby
Something old, something new, something borrowed, something...bedazzled? In twenty-four hours, Addison Holmes will be a married woman. Maybe. A week to plan a wedding in the south is not for the fainthearted, but Addison (along with the help of her neurotic mother, unreliable sister, and unpredictable Aunt Scarlet) are determined to pull it off. There’s just one problem. Okay…two problems. Problem #1: The preacher is missing. This seems like a bad omen to Addison, and all the best investigators she knows are taking part in the pre-wedding festivities (that’s code for drunk). That leaves one man for the task: FBI Special Agent Matt Savage. But Addison isn’t sure he’s the man for the job. She and Savage have a complicated history, and Savage could make the preacher disappear forever if it served his own agenda. Problem #2: Rosemarie Valentine is in charge of booking the bridal party for a spa day. Enough said.
Love once inspired sonnets, plays, novels, and countless romantic songs. But romance can become obsession, and nowadays, love songs are creepier than ever. Even the Police's stalker anthem "Every Breath You Take" is a popular choice at weddings and funerals. In Touch Me, I'm Sick, Tom Reynolds offers hilarious riffs on 52 love songs that have gone off the rails into the realm of the tawdry, the overwhelming, the obsessive, the self-absorbed, and the completely weird. Including songs by artists as diverse as Melissa Etheridge, Michael Jackson, Paul Anka, Sinéad O'Connor, and Slipknot, he also pillories a handful of the 1,700 different songs called "Butterfly." Praise for Tom Reynolds' I Hate Myself and Want to Die: "A tremendous idea . . . Reynolds ameliorates the pain of having put his ear up close to some of the most inconsiderate despair anthems of our time by having enormous fun deconstructing them." --The Sunday Times "Full of premium trivia and pinpoint pomposity-pricking, Reynolds has made comedy gold from the full base metal of misery." --NME "An entertaining and well-researched set of cautionary tales music fans will enjoy. Consider the list a batch of enthralling liner notes for a box set that comes with razor blades." --Playboy "Bridget Jones would love it." --The Scotsman
