Cory Bishop

For fans of:Tom Petty, Bruce Springsteen, Jason Isbell, Dawes, Ryan Adams

It wouldn’t be going too far to say that Cory Bishop’s musical fate was sealed before he was even a twinkle in his mother’s eye... It was in the fall of 1979 that a Psychology grad student finally managed to work up the nerve to ask out the prettiest gal on campus. Without much of a follow up plan he asked her back to his office, and things looked like they might end before they even got started. The Muses must have been watching, as the young ladies eye happened to land on our hero’s framed, torn cover of Bob Dylan posing in 1969 for Hit Parade Magazine, hat tipped in front of the Nashville skyline. Turns out she'd kept that same cover over the years too…

Bishop’s parent’s love for Dylan rolled down the family tree in a deluge, and in his rousing music you can hear echoes of the great many iconic singers and songwriters that framed his world as he grew up. It turns out a psychological propensity for emotional insight has been passed down as well, and his intimate, searching lyrics you can find a man how’s reflected deeply on the life he’s lived.

Born in Southern California, Bishop headed to Nashville, TN for college where he studied both music and religion. He struggled to balance both subjects, even spending a semester in Seminary before dropping out for good to pursue music. "I see it now," Bishop asserts, "as my job and my duty to craft songs that can help people catch a glimpse of hope; catch a glimpse of love and redemption." This is the central message woven into Cory Bishop. Hope, love, and redemption aren't new themes to any songwriter, but Bishop manages to deal with these themes carefully, tastefully, and without cliché.

The record starts off with a soul-searching declaration of self on “You Can’t Take Me” before sliding into the multifaceted “Carolina (Bishop notes that “Carolina is a place, but Carolina is also a girl. It’s my on-off relationship with God, and my on-off relationship with my dreams.”) “Crown of Thorns” is a hung-over and guilt-ridden postmortem on a tempestuous relationship, too raw and real to not be raw and real. It segues into the break up song “Whenever You Are, Babe” – though, is that some light on the horizon? It all comes together on closer “Honey I Ain’t” where verses laced with complex imagery are balanced with choruses that couldn’t be simpler. For me, this is the Nashville skyline” says Bishop. “The same one that Dylan named his 1969 record after. The same record that brought my parents together in 1979. And here I am in Nashville writing about that skyline.” At the end of the day, it all balances out and boils down to a love song; and after all, isn’t that why we’re all here to begin with?

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