Produced by Cousin & Grammy Winner Dave Cobb (Sturgill Simpson, Chris Stapleton, Jason Isbell)
Brent Cobb didn't set out to write an album that feels and sounds like the place he grew up. But now that the grooves have been cut in his debut LP, Shine on Rainy Day, there's no denying the people, the places and the vibe of his southcentral Georgia home infuse almost every song. Shine on Rainy Day is an album Brent's been trying to make for a decade, enlisting his cousin and fellow Georgian, Dave Cobb, the Grammy Award-winning producer whose Elektra Records imprint Low Country Sound is home to the album.
Brent wanted to record an album that felt Southern, though not the kind of Southern you might expect. Neither Southern rock nor mainstream country, the sound sits somewhere on the wide bandwidth that exists between the two. Cousin Dave helped him find the right vibe, full of blue-eyed soul, country funk and the kind of swamp boogie sounds that predominated pop in the 1960s and early 1970s.
From the Nashville slice-of-life narrative of "Solving Problems" to the delicate and powerful interplay of acoustic and electric guitars on the stunning closer "Black Crow," the album feels like the people, places and sounds of Brent's life. The album carries something of a Southern Gothic narrative, alternating between dark visions and self-deprecating scenes of black humor that bubble up in laugh-or-cry moments. He chose the album's title after a friend heard "Shine on Rainy Day" following a family tragedy and mentioned how powerful it was to him.
The deliciously self-deprecating "Diggin' Holes" has that giddy AM radio/Gram Parsons feel with dancing music accompanied by dark lyrics that are both funny and painful. "Down in the Gulley" is a sour mash-flavored short story with a first line worthy of Faulkner or O'Connor. The dread-filled "Let the Rain Come Down" opens with visions of doom, a rattlesnake strung from a tree and a witch's curse. "Solving Problems" was written sitting on a balcony overlooking an especially historic corner of historic Music Row while thinking about Kris Kristofferson's "To Beat the Devil," which has a spoken word section that feels lifted right from the Row.
After 10 years of searching and struggle, the LP sounds and feels exactly how he wants it to. Like home.