Richard Lynch’s Newest Release My Guitar Drips Country

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There’s a lot of love on display in Richard Lynch’s newest release My Guitar Drips Country. It’s not just limited to the subject matter he sings about either, this 12 track powerhouse was formed from an innocent place. A send up to his deceased friend and country icon Doug Supernaw, Lynch is a true humanist, having touched many with his music both domestically and internationally topping countless charts, he also co-founded the Love Tattoo Foundation which aids veterans programs.

With someone as genuine and thoughtful as this, it’s reflected in the sonic textures he weaves from the opener “Starting Now” about the redemptive powers of the lord and your fellow man, to his commemorative track about Supernaw, titled, well Supernaw. You can tell loss certainly has an effect on Lynch as when it’s present, you can tell there’s pain, but he transforms it into something one can look back at fondly and warmly, such as the song “Cathead Biscuits,” which might just seem as a harmless fun lark about his Mom’s cooking, but upon later examination, takes on more meaning after the track “Wait for Me,” which sees Lynch saying goodbye to his mother one last time. Lynch has a wonderful way of preying on our preconceived notions and always transforming them into something entertaining, while subverting our expectations.


Besides ‘Biscuits’ and ‘Wait”, there’s a fair share of duality discussion on display on this album. Lynch has fun playing with country novice’s who think its music is nothing more than beer, blonde, big truck anthems you’d have to live on a farm to connect with on the song “Place I Have Never Been” but later even indulges in some criticism of his own genre, playfully so, on the jaunty “Hurtin Cheating Lyin Country Song.” Even the subject matter of love isn’t so black and white as he croons with singer Katelyne Adams which upon first listen, sounds like your standard fair about a new love and how badly you must pine for them, but it eventually uncovers senses of doubts and insecurities that proves to be a two-way street as even Adams confesses that despite being happy and wanting this man, she’s just as scared as he is, and that kind of vulnerability is something we need more of, not just in country, but in contemporary music in general.

Lynch has a great strength in being able to turn his unique worldview into something universal and easy to digest, without compromising his talent which has put him on the map to begin with. If I had any complaint, it would be that the textures of his songs leave a little to be desired, and maybe implementing some other elements like strings or some more complex percussion might yield some surprising results, as his songwriting is certainly strong. The music never grows static, but sometimes you don’t quite feel the sense of escalation that some tracks should feel, some more than others. Regardless, this is another home run for Waynesville wonder.

Emily Knudsen

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