She does her own stunts, too. Today, Megan Moroney released a new song called “Wish I Didn’t,” from her forthcoming album Cloud 9, which was accompanied by a very cinematic music video inspired by the 2005 movie starring Brad Pitt and Angelina Jolie, “Mr. & Mrs. Smith.” You might also recognize her co-star, Dylan Efron, whose last name you probably recognize because he is the brother to Hollywood actor Zac Efron, notably of High School Musical fame. Dylan has been on reality shows like Season 3 of Peacock’s The Traitors, and more recently he finished in fourth place on Season 34 of Dancing with the Stars, alongside his professional partner Daniella Karagach, which is what I know him from, but he did a great job in this video and it sounds like they got their hands dirty in terms of doing some of the more involved stunts on their own. There’s a scene in the video where Megan jumps on him and they fight, and then Dylan smashes a plate over her head… I for sure thought that part was fake Hollywood magic of some sort, but it sounds like they actually did all of those things themselves. During a livestream talking about making the video, Megan said her knees were black and blue from bruises after filming… and she added that she “probably” had a concussion after getting the plate smashed on her head. I’m sure it was a special kind of plate (fun fact: they used to make them out of sugar) that’s made to easily break, but still… ouch: “Guys, the bruises on my knees after the fight scene… it was wild. Knees were black. It was the end of the day, and we literally only did it twice because I was exhausted. But yeah, we had a stunt coordinator and everything. I need to show y’all the plate getting smashed over my head, because it was… yeah I probably had a concussion over it, but anything for the music video.” To be fair, she also smashed a wine glass over Dylan’s head, and they had a stunt coordinator to make sure everything was done properly, but it sounds they really went all-in with the making of the video and it turned out great: | Megan talking about filming the “Wish I Didn’t” music video on Stationhead tonight! pic.twitter.com/PqRyEyVidx — Megan Moroney Tour & Updates (@megmoroneytours) January 16, 2026 You can watch it here: “Wish I Didn’t” Cloud 9 Tracklist 1. “Cloud 9” (Megan Moroney, Luke Laird, Jessie Jo Dillon, and Ernest Keith Smith)* 2. “Medicine” (Megan Moroney, Connie Harrington, Jessie Jo Dillon, and Jessi Alexander)* 3. “6 Months Later” (Megan Moroney, Ben Williams, Rob Hatch, and David “Messy” Mescon)* 4. “Stupid” (Megan Moroney, Amy Allen, and David “Messy” Mescon)* 5. “Beautiful Things” (Megan Moroney, Connie Harrington, Jessie Jo Dillon, and Jessi Alexander)* 6. “Convincing” (Megan Moroney, Connie Harrington, Jessie Jo Dillon, and Jessi Alexander)* 7. “Liars & Tigers & Bears” (Megan Moroney, Luke Laird, and Jessie Jo Dillon)* 8. “I Only Miss You (ft. Ed Sheeran)” (Megan Moroney, Ben Williams, Mackenzie Carpenter, Micah Carpenter, and Ed Sheeran)* 9. “Wedding Dress” (Megan Moroney, Ben Williams, and Colin Healy)+ 10. “Change of Heart” (Megan Moroney, Ben Williams, Mackenzie Carpenter, and Micah Carpenter)* 11. “Bells & Whistles (ft. Kacey Musgraves)” (Megan Moroney, Ben Williams, Mackenzie Carpenter, and Micah Carpenter)* 12. “Table for Two” (Megan Moroney, Ben Williams, Mackenzie Carpenter, and Micah Carpenter)^ 13. “Wish I Didn’t” (Megan Moroney, Emily Weisband, Hillary Lindsey, and Luke Laird)* 14. “Who Hurt You?” (Megan Moroney, Luke Laird, and Jessie Jo Dillon)* 15. “Waiting on the Rain” (Megan Moroney, Luke Laird, and Jessie Jo Dillon)*The post “Probably Had A Concussion”: Megan Moroney Did Her Own Stunts, Got A Plate Smashed Over Her Head In “Wish I Didn’t” Music Video first appeared on Whiskey Riff.

Finally performing the song they wrote over 20 years ago. In many ways, Jamey Johnson is a bit of an enigma, being one of those artists who seemingly bridge the gap between multiple different scenes and subgenres in country music today. Over the past few years, Johnson has seemingly effortlessly swung between the alliterative scene and the mainstream, making appearances with the likes of Riley Green on tour, Ella Langley and Randy Houser while also teaming up with Kaitlin Butts, Marcus King, Lily Meola and more. As we know, he’s scored a few hits in his day at country radio, with “In Color” being a Top 10 entry and his debut single, “The Dollar,” being a Top 15 hit. As a songwriter, Johnson has penned hits for other artists like George Strait’s “Give It Away” and Trace Adkins’ infamous “Honky Tonk Badonkadonk.” Though the song typically gets lambasted for its admittedly ridiculous lyrics and oftentimes gets credit as the unofficial start of bro-country upon its release, there’s no denying that the song is pretty fun and, most importantly to Johnson and cowriters, Randy Houser and Dallas Davidson, pretty successful. Appearing on Adkins’ 2005 album, Songs About Me, “Honky Tonk Badonkadonk” was released as the third and final single from the record on October 3, 2005. Though it wasn’t originally intended as a single, the track began receiving unsolicited airplay and debuted on Billboard’s Hot Country Songs chart at #58 in April 2005. By February 2006, after officially being sent to radio, it would peak all the way at #2, being blocked from the top spot by Carrie Underwood’s monster six-week #1, “Jesus, Take the Wheel.” Since then, it’s experienced a whole lot of success, often being played at nearly all bars and dance venues that have even a hint of country flair. From a numbers perspective, it’s been a smash in the streaming age. Along with its 89 million streams on Spotify alone, the track has sold over three million units, receiving a 3x platinum certification from the Recording Industry Association of America (RIAA). Back to Johnson and Houser writing the track, back on December 13th, the pair teamed up to FINALLY perform the track at a show in Las Vegas. And you can say what you will about the quality of the song itself and the potential floodgates it opened up in terms of bro-country, but I can’t help but love the pair finally performing the song live together. It also doesn’t hurt that it’s made Johnson, who has been a positive influence on a ton of artists throughout the decades, a whole lot of money. Watch here: How “Honky Tonk Badonkadonk” Was Written Earlier last year, Dillon Weldon, host of the Drifting Cowboy podcast, asked Johnson about the track and how he, Dallas Davidson, and Randy Houser came up with the idea for such an absurd title. The idea for the tune came up while they were drinking at the former Wildhorse Saloon, a famous downtown Nashville bar that is now Luke Combs’ Category 10 bar. “So yeah, we were at the Wildhorse Saloon one night. Randy Houser, Dallas Davidson, and I got together to drink some beer, and Rob Hatch was the bartender. He was a good bartender, but he would turn in some beer spills all night. Turns out he was spilling all of it in our glasses. We had a good deal worked out there. We were sitting over there drinking one night, watching that dance floor at Wildhorse Saloon. Every now and then, you could walk in there, and it was like a big old corporate party, and it was just kind of weird. The vibe was a bunch of people who worked together. Now they were going to hang out and drink together and watch each other dance and sh**.” Johnson shares that this was the kind of clientele at Wildhorse that night. As the evening progressed, just as they had expected, the corporate folks began to loosen up, which led to some great people-watching. “It took a few drinks to get in them to get it going, and we were sitting there catching the first parts of it, really busting loose. I was watching this gal that had quite a derrière. I mean, just in sheer volume. Quite a few ham sandwiches went into that.” Now, Johnson had quite a way with words during that interview with Weldon, describing the behind that inspired the song, but during a more recent interview with Big D & Bubba, he gave another poetic answer when describing the velocity of this woman’s behind. “A model, who had come to town to party for a couple of days. And this gal, she was unloadin’. She had a butt that looked like you just rammed a couple of beach balls down inside a pair of jeans. I was watching her… I was watchin’ her workin’ that thing around.”  At this point, the men in the room are giggling like high school little boys who just saw their first pair of boobs. Johnson continues: “She changed the order of the dance floor like everything was coming this way, they had to turn around and go back. She was up there dropping it down and hitting the floor with it and everything else, and I thought, ‘Damn!’ And about that time, either Randy or Dallas, one of them, said, ‘Badonkadonk.’ And the other one said, ‘Honky Tonk Bandonkadonk.’ And when I heard that, I just looked at them both and I said, I’m in…’”  The three men left the bar shortly after to go pen what would later become a cult classic. Johnson described in the Drifting Cowboy episode that the only actual hang-up the men had was on the “slam your grandma” and “Donkey Kong” lines, which is pretty funny that was a hang up given the ridiculous nature of the subject matter to start with: “The only hang-up in it was when Dallas said ‘Donkey Kong.’ I kind of, ‘Come on, man? What is that?’ He was like, ‘Nah, dude, you had this line like..’ My line was ‘slap your grandma,’ because it was something I heard growing up. I mean, we were just laughing at each other. Especially at my hang-ups on whether or not to put ‘Donkey Kong’ in this song.”The post WATCH: Jamey Johnson & Randy Houser Team Up For Performance Of “Honky Tonk Badonkadonk” Over 20 Years After They Wrote The Song first appeared on Whiskey Riff.

Guilty conscience, eh? Obviously there are all kinds of jokes these days about Garth Brooks being an actual murderer, thanks to comedian Tom Segura and his wife, Christina P, coming to the (inevitable, really) conclusion on their Your Mom’s House podcast that Garth is, in fact, a serial killer. Take a quick look at any mention of Garth on social media and you’ll immediately see that the comments are flooded with questions like “Where are the bodies?” and folks begging for closure for the families of his victims. But the song “Murder on Music Row” had nothing to do with an ACTUAL murder. Written by Larry Cordle and Larry Shell, and originally recorded by the writer’s bluegrass group Larry Cordle & Lonesome Standard Time, the song became a hit after it was covered by George Strait and Alan Jackson in 1999, despite the fact that it was never released as an official single. The “Murder on Music Row” is actually a metaphor for the Nashville music industry killing traditional country music in pursuit of commercial success and profit: “Nobody saw him running from sixteenth avenue.They never found the fingerprint or the weapon that was used.But someone killed country music, cut out its heart and soul.They got away with murder down on Music Row” Amen. Now, before I go any further, we need to take a look back at what was going on in country music at the time the song came out. When George and Alan’s version was released, we were 10 years removed from the emergence of the “Class of ’89,” a group of neo-traditional country singers who were widely praised for their classic country sound – guys like Clint Black, Travis Tritt, and of course, Alan Jackson himself. But through the ’90s, Garth Brooks was also becoming a mega-star, not necessarily for his traditional country sound but for his rockin’ shows that rivaled the massive productions typically found in pop and rock, as well as his sound that pushed the envelope for what was considered “country” at the time. (Of course when you compare it to some of today’s country, Garth’s music sounds country as hell, but that’s probably more of an indictment of where country is today than anything). At the time though, there were plenty who were critical of Garth and not happy that he was seemingly taking country in a more “pop” direction. It obviously wasn’t just Garth though. Shania Twain was also a massive superstar, and she blurred the line between country and pop more than anybody. And there were plenty of others who were pushing country to its outer edges (or so we thought) at the time. So “Murder on Music Row” wasn’t necessarily aimed at any particular artist. In fact it takes aim more at the Nashville machine, the record labels who sold out for money and the radio stations that replaced fiddle-and-steel soaked heartbreakers with more friendly pop hits. But when Garth heard the song it must have touched a nerve – because he thought it was about him. Songwriter Larry Cordle discussed his hit on the podcast Murder on Music Row, which is produced by the Nashville newspaper The Tennessean and isn’t just about the song, but about an actual music industry murder that occurred on Music Row in 1989. And he said that when he was coming up with an album cover for his version of the song, he chose a location on Nashville’s 16th Avenue, the street once famous for housing the major recording studios and labels that built country music. The album cover featured a man loading a steel guitar into a hearse, with chalk outlines of a man and a guitar on the street beside him. And in the background, there’s a sign for 16th Avenue. As it turns out, Cordle chose the location for a pretty simple reason: It was the only “16th Avenue” sign on the street. But on the corner of that street, just outside the frame of the photo, sat a building called Jack’s Tracks Recording Studio. The famous studio was owned at the time by producer Allen Reynolds – who produced music for, you guessed it, Garth Brooks. Garth had recorded many of his albums at Jack’s Tracks, and when he saw the cover for Cordle’s Murder On Music Row album, he immediately recognized the location of the photo – and thought that Cordle was trying to call him out with the song and the album cover. According to Cordle: “Garth Brooks had been trying to reach me, I heard one day. So when I called him, and I don’t think he meant it in a bad way, but he said, ‘Man, I couldn’t help but notice that that’s right up here by Allen’s… Are you trying to send me a message or something?’ I’m like, ‘Garth, it’s the only 16th Avenue sign in town that I could even find.'” Seems like Garth has been dodging those murderer accusations for longer than we’ve realized… Well obviously the song wasn’t written about Garth (at least not that Cordle will ever admit), but listening to it 25 years after it became a hit, it’s still as relevant today as it was back then. Oh, and that Jack’s Tracks studio just off to the side of the album cover? It was later bought by Garth Brooks, who renamed it Allentown Studios in honor of Allen Reynolds – and he still owns it today. The post Garth Brooks Thought The Song “Murder On Music Row” Was About Him: “Are You Trying To Send Me A Message?” first appeared on Whiskey Riff.

Duane Allman had a brief career that ended tragically in 1971, when he passed away at the age of 24, yet he became one of the most influential guitarists of all time, leaving his mark not only with the Allman Brothers Band but also through his work with Eric Clapton in Derek & The Dominos. Also known as "Skydog," the musician was one of the most prominent guitar players of his generation and greatly impressed the famous British guitarist at the time. Although Duane did not give many interviews during his short career, he did talk extensively about Eric Clapton, sharing his opinion and saying some very interesting things about the legendary guitarist. What was Duane Allman's opinion on Eric Clapton Duane Allman was a huge fan of Eric Clapton and said he was the best and the one who "wrote the book". “Eric Clapton, man. Let’s talk about him, he’s a gas, he wrote the book, you know. He is contemporary white Blues guitarist volume one. But his style and his technique is what really amazes me. He’s really got a lot to say too but the way he says just knocks me out, man. He does so well, man,” Duane Allman said in a radio interview back in 1970. They had the chance to work together on Derek & The Dominos album "Layla & Other Assorted Love Songs" and Duane talked about that incredible experience, calling Eric a very wonderful and beautiful man. "I went down to Miami when they were cutting that album. Tom Dowd (Producer) called and said: 'I know you want to watch this cat play, because you've always thought that he was the best'. And I have, man, I believe (in that). I love his playing, I love the attitude with which he plays. I love everything he does. He's a very wonderful, very beautiful man, you know. So he (Tom Dowd) says: 'He's here, you wanna come down and watch?' I said: 'Yes!' So I shot down there, man. But just as a little insurance, he said: 'Well, maybe you better take all your guitars down there, you know. Because you might just get a chance (to play)." Duane Allman continued: "'Maybe you don't get to talk to the cat. Maybe if you get to talk to him, maybe he's going to want you to lay a couple little things in, you know'. So I take it down there and come to find that the cat (Eric Clapton) just heard everything I ever did, man. He digs my playing and he says: 'Did you bring your amp? Put your stuff up now and we'll make us an album'." "I said: 'Okay, man. If that's what you want, that's what we'll do'.  Then we did it". The interviewer then asks him how much he played on the album. He says: "Just enough to make it right. For anybody who cares to know about that (what I played and what Eric played), I played the Gibson, Eric played the Fender, all the way through. If you can tell a Gibson from a Fender, you know who plays what. If you don't, then you just go ahead and hallucinate, man. I don't care, you know. (In layla) I do the highline, Jim Gordon plays the piano on that, by the way. Nobody knows who did that." He continued: "(That whole last part is) Jim Gordon (playing). I got two slide tracks on it, Eric's got an acoustic track on it. I'm not sure, but I believe there's an extra percussion track on, I'm not sure, man. There's a lot of goodness on that album, I mean it," Duane Allman said in an interview with WABC Radio in 1970 (Transcribed by Rock and Roll Garage). Duane's life and career would tragically be cut short the following year when he was killed in a motorcycle accident at the age of 24 in Macon, Georgia. He was only one year older than Clapton and had a career spanning just ten years (1961 to 1971). But that period was enough to show his talent, which still places him on lists of the best guitarists. His brother Gregg continued to lead the Allman Brothers Band until 2014 when the band retired from touring. He passed away three years later, in 2017, at the age of 69. Clapton had the chance to play with them a couple of times, bot only performing their songs. They also played together tracks from the Derek & The Dominos album that Duane had been part of, as a tribute to him. Eric Clapton said he was "mesmerized" by Duane Allman's playing “I was mesmerized by him, Duane and I became inseparable. Between the two of us we injected the substance into the Layla sessions that had been missing up to that point. (...) Because of Duane’s input, it became a double album. (Due to his) interest in playing between his style and my style, we could actually have played any Blues or any standard and it would have taken off. (Robert Johnson) was where we connected. We didn’t really talk about the modern players much at all. It was really the roots that we were meeting on,” Eric Clapton said as reported by Bob Beatty in his book “Play All Night! Duane Allman and the Journey to Fillmore East”. Curiously, after the album was completed Clapton tried to convince Allman to join Derek & The Dominos. But the American musician told him he needed to be loyal to "the family. Tom Dowd, the producer of the album said that Clapton and Duane looked like two long-lost brothers when they were together. That was the impression Duane got from Eric when he went into the studio that first day. "I saw him and he acted like he knew me, like I was an old friend. ‘Hey man, how are you” y’know. He said: ‘As long as you’re here we want you to get on this record and make it with us. We need more guitar players anyway’. So I did. I was really flattered and glad to be able to do it,” Duane told New Have Rock Press in 1970. Clapton is a big fan of the Allman Brothers but loved Duane’s guitar solo on another artist’s song https://www.youtube.com/watch?v=7hFJQUsblsw Clapton was a big fan of the Allman Brothers Band and when he went to see them play live at the Miami Beach Convention Center on August 26, 1970, he said their music was "unbelievable." He was especially impressed because they were doing "all the harmony playing". Even in the guitar solos, which he said was "fantastically worked out." Clapton also mentioned them as an influence, ssaying they were making "really, really good music that was really thought out." However, the first time he heard Duane’s guitar playing was not on an Allman Brothers album. It was actually on Wilson Pickett’s version of The Beatles’ "Hey Jude," released in 1969. He then called the Atlantic label to find out who that guitar player was. “I remember hearing ‘Hey Jude’ by Wilson Pickett and calling either (Atlantic president) Ahmet Ertegun or Tom Dowd, and saying, ‘Who’s that guitar player?’ To this day, I’ve never heard better rock guitar playing on an R&B record,” Eric Clapton said as told by Guitar Player.The post Duane Allman’s opinion on Eric Clapton appeared first on Rock and Roll Garage.

White Trash People Love Chasing Storms | Justan Spaid Stand-Up Comedy

Perhaps anticipating that musical artists might be more sensitive than most, music journalists sometimes gently goad them to provoke reactive quotes. But what happened in a 1977 Australian interview may have proven otherwise.In a resurfaced clip making the rounds on social media, three members of the band Fleetwood Mac (Lindsey Buckingham, Stevie Nicks, and Christine McVie) are being interviewed in Australia. As they discuss how they all became part of the band, McVie explains: "When Fleetwood Mac first formed, it was a blues band. A pub band that used to travel around the country and earn relatively little money ... But they became very successful with a single they had out called 'Albatross,' which made them popular on the continent — Europe and England. As far as I know, America didn't really know them." See on Instagram The reporter then directs questions to Buckingham and Nicks: "Stevie and Lindsey, how did you manage to leap into such a successful band? How did it come about?"After joking for a second about his wording, Buckingham answers: "We had a band about two years previous to Fleetwood Mac called Buckingham Nicks. And at the time Mick (Fleetwood) was looking for a studio in which to record an album in, and he ended up at Sound City in Los Angeles just looking at the studio. And the engineer who had done our album played him some of the tapes just to show what the studio sounded like. And he really liked the tapes. He really liked the music. And I guess a week after that, Bob Welch left the group. And just on a hunch, they asked us to join. We didn't audition or anything."But here's where things might have taken a turn. The interviewer then seems to solely focus on Buckingham: "It must have been one of the first bands to incorporate ladies and use them, as such. Any problems as far as credibility of ladies in rock 'n' roll when the band first hit the road with the girls?" See on Instagram Buckingham appears to know better than to answer, and he and Nicks quickly look at McVie, who replies: "Well, I had already been in the band for a good while, as a 'lady.' And as a musician, ya know. I'd been primarily a musician, rather than a 'backup singer' in any case. And then when Stevie joined the band, she was also a frontline singer and writer. I think in that way, I guess we were the innovators of that kind of thing because it was more or less, to my knowledge, prior to us girls would be in rock bands, but would be backup singers and…""Pretty faces," the interviewer interjects. At first glance, Nicks seems jarred by the comment but remains calm, responding: "Well, I think it comes down to the fact that Fleetwood Mac could not go on without Chris and me if we were sick or something. Whereas most bands, with a girl in it, could go ahead and would go on and play. But they'd have trouble without us."Nicks, for her part, has often been a champion of female singer-songwriting. In fact, after she performed with Taylor Swift at the 2010 Grammys, journalists and fans alike were critical of Swift's performance. Nicks believed so strongly in the then 20-year-old singer that she wrote about it in Time magazine. Stevie Nicks gives kind words to Taylor Swift. www.youtube.com, Entertainment Tonight According to Peter Burditt's article in American Songwriter, Nicks wrote:"This girl writes the songs that make the whole world sing, like Neil Diamond or Elton John. She sings, she writes, she performs, she plays great guitar. Taylor can do ballads that could be considered pop or rock and then switch back into country. When I turned 20 years old, I had just made the serious decision to never be a dental assistant. Taylor just turned 20, and she's won four Grammys. Taylor is writing for the universal woman and for the man who wants to know her. The female rock-'n'-roll-country-pop songwriter is back, and her name is Taylor Swift. And it's women like her who are going to save the music business."The comments under the Australian interview clip are extremely supportive of Nicks and McVie. "When I think of the band, Fleetwood Mac, I always think of Stevie Nicks and Christine McPhee (McVie) first. Christine and Stevie were equal members of the band. Everyone in that band wrote songs. All of the love affairs coming to an end made a fantastic album called Rumours.""I love that Lindsey did not answer this question. He knew better! Love to them all!""Pretty faces! Has he never seen them perform? But they pave the way! Ladies don't realize what women went through. Women could not even own a credit card or have a bank account in 1974. So crazy!" (They're likely referring to the Equal Credit Opportunity Act, which passed that year.)Finally, this Instagrammer sums up the discussion with a perfect comment: "The inventor of Rock 'N' Roll was a lady herself, Sister Rosetta Tharpe."