J Goodin
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J Goodin


Band Rock Acoustic


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This band has not uploaded any videos



"J. Goodin -- AXES AND AXIOMS [Canon Records Inc.]"

Guitarist / singer J. Goodin is a one-man band whose playing style encompasses so many genres and textures, many deliberately jarring, that it's hard to get a handle on him. This is a good thing. Most of the time he embraces this thunderous guitar thunder that pleases me mightily, but he also dabbles in music concrete, strange experiments in EQ, and quizzical moments of pure weirdness. Heavy and crunch-laden on one song then full-blown country on the next, with bursts of pop and other styles like clockwork, there's a wide variety of sounds happening here. I particularly like the heavier ones like "drama queen" and "jump ophelia" that are nothing more than pure full-blown metal, dude, but even the more restrained, countryish tunes often provide plenty of apocalyptic heaviness, such as on "prelude -- morning ate my moon" or the creeping "grin like a dog," both of which are plenty sinister without wearing the distortion pedal (that pedal gets its own frantic workout on "scruffnut"). The gorgeous closing track "mr. snowflake" makes it clear that he can play it straight, without needing efx or weird moves to get the point across. An interesting (if occasionally perplexing) and varied collection of strong material from someone who's just aware of what makes mainstream music popular and just bored enough by it to make something listenable yet different. RKF (aka tmu -- the moon unit)
- Dead Angel

"Canon Records Produces the local music scene"

For several years, the Brazos Valley has seen a growing concentration of singer-songwriter talent. Thanks to weekly open mics and opportunities for live gigs at venues like Revolution Café, Zapato’s, La Bodega and the now-shuttered Third Floor Cantina, the emerging musical community was able to form, as artists supported other artists and the collective scene benefited accordingly. Long able to perform publicly, several of these artists have now found a home where they can release their music.

Enter Canon Records and its label director Timothy Britton. Britton, a native of England (Kent), founded Canon Records while a student at Texas A&M University. According to Britton, his motivation for forming the company was simple: “I got into records the same way any small label owner did. I heard music and I wanted it to be recorded and available.” This fan-oriented, enlightened approach was reflected in Canon’s early stock blurb, which contained the statement, “Our artists work with us in a partnership and are not bound to us in any of the traditional ways. We record, produce and sell records. We promote in a limited capacity through our friends. We help the artists learn to market themselves, giving them all the opportunities we can.”

In 2003, Britton graduated and put the label on a brief hiatus as he returned to the United Kingdom. In the past year-and-a-half, however, Canon Records has reemerged, with the label’s official re-launch at the 2007 SXSW. Britton notes that his handling of the business is now more professional and serious but also a lot more fun. Most importantly, he continues to maintain the positive attitude toward creating music and nurturing musicians.

J Goodin is probably the best-known artist on Canon’s line-up. A long-time fixture in local music circles, Goodin relocated to New York City a year ago. Before departing, he left fans with a very special record, Axes and Axioms. On it, listeners are treated to Goodin’s gritty baritone, a meld between Tom Waits, Jay Farrar and Grayson Capps and his lightning-and-thunder guitar work. “Greasepaint” sounds like Stavin’ Chain-era Capps, a little faster but with the same wry and willful story telling. Conversely, “Morning Ate My Moon” suggests influences as disparate as post-Son Volt Farrar (think Sebastopol and Terroir Blues) and a little Candlebox (unplugged), but with more focused instrumentals and more reasonable emoting.

Fortunately for old fans lamenting J’s departure and new fans fortunate enough to make the discovery, Goodin will be back in the Brazos this weekend. He is currently recording a new studio album in Austin and is dropping by Revolutions to play a gig. This show won’t be any ordinary show, however, as the folks at Canon Records have decided to make a live recording, to be released later this year. According to Britton, “The mantra of the thing is to capture him in that environment, where he really thrives.” All you Maroon Weekly readers out there that enjoy music should come to Revolutions to take part in this special event — it could prove to be a once in a lifetime opportunity.

Another mainstay on the local music scene that graces the Canon catalogue is Jenny Morgan. A talented folk/roots musician (and a former editor of Maroon Weekly), Morgan pairs her unique guitar stylistics with throaty, soaring vocals. Morgan knows the value and strengths of her voice, and uses timely crescendos in a way that makes your heart break, while employing the catchiest key changes I have ever heard. I swear I could listen to her switch chords in “Burnin’ with the Flame” all day long. Morgan’s EP, The Songs I’ve Sung, is being released by Canon Records on May 1, so keep your eyes open.

Fly, Mordecai is another local act signed to the Canon family. With one album (Dreams Carved Under Indifferent Stars) already under their belts, the guys in Fly, Mordecai are currently plotting their next move. Judging from their musical output so far — with front man Jason Petty’s heart-felt vocals and drummer M. Powe’s estimable percussion skills — fans should keep their fingers crossed for something new soon. If you need another reason to check out the band’s music, the clever Royal Tenenbaums reference ought to earn them some cool points. The last component of the Canon label takes the form of the idiosyncratic Russell Huie. With a plaintive wail reminiscent of Morrissey and Smoking Popes’ Josh Caterer, Huie sings as if he has been out on the road for quite some time, with many miles left to go.

Clearly, Britton is taking the best the Brazos has to offer and helping to take the music to the next level. Thanks to him, soon the buzz about Goodin, Morgan and the rest of the Canon family will extend far beyond the region. Be sure to catch the live recording at Revolutions on Thursday, April 19, as J. Goodin makes a triumphant return to Aggieland and has many of his Canon Records friends join him on stage. If nothi - Maroon Weekly

"J. Goodin to record live album at Revolution"

Singer/songwriter J. Goodin returns to his old stomping grounds Thursday to record a live album at Revolution in Bryan.

Goodin was a regular at Revolution from 2004-2006, playing a Tuesday show with fellow musician Jenny Morgan.

In early 2006, he decided to try his luck in New York City, but opted to record a live CD in the Lone Star State where he had built a following.

Goodin fills his raw, uncompromising acoustic-rock sound with introspective lyrics about live and love.

Tim Britton, a representative from Canon Records (Goodin's label), had this to say about the musician,

"We were just as enthralled by the long breaks between songs and all the interactions that he had on stage, not separate at all from the audience or the bar staff. Then the songs would blow you away for three minutes, terminate and drop you right back into your seat, where J. acts as if he has done nothing particularly special. A very cool dynamic."

Jenny Morgan opens the show, which will start around 9 p.m. Friday. Revolution is at 211-B S. Main St. in Bryan.

- The Bryan Eagle

"Contrasting styles bring similar success for artists"

Revolution's regular Tuesday night performers J. Goodin and Jenny Morgan are a study in contrasts.

Goodin sits at a table as his leg bounces up and down as if springs were attached to his heels. He's dressed in a flannel shirt, jeans and sneakers and puffs away at a cigarette between sips of beer.

Morgan, on the other hand, gracefully circles the bar's outside patio with a glass of wine, plays with her son and chats with some of the regulars.

The two have shared Tuesday nights at the downtown Bryan live music joint for more than a year, and their devoted fans continue to show up and support them.

'It seems a lot of other places, people go to socialize,' said Morgan, 27. 'Here, the people come to listen to music.'

Goodin, 32, said having an audience that is into the music makes a big difference to the performers, and the 'eclectic clientele' at Revolution fits the bill perfectly.

'These are all the people in College Station you want to find but can't find, he said through a voice that has become coarse through years of smoking and drinking. If they're out on this night, they're out to see the music.'

The pair met six or seven years ago when Morgan saw Goodin playing at The Crooked Path, which is now The Library in Northgate. They started chatting, found they have similar musical tastes and became friends.

Around the same time, Morgan learned to play the guitar and dabbled in songwriting, writing a song for her brother's birthday. When her friends and family heard it, they encouraged her to sing during open-mic night at 3rd Floor Cantina.

I was really nervous and about to cry, she remembered.

Adding to the pressure was the fact that open-mic organizers wanted her to play more songs, even though she was prepared to play only one.

After fighting through her only song, she apologized to the audience and darted off stage.

Goodin didn't let that become Morgan's last show. He motivated her to keep writing and performing. Thanks to his words of encouragement, Morgan wasn't totally disheartened by her rough outing. Her calling to write and perform music was too loud to ignore.

I don't ever intend to quit [playing music], even if I'm only playing once a week, she said.

Morgan is much more polished on stage these days. During a recent gig, she strummed her guitar while her melodic voice held each note perfectly. Any remnants of her initial stage fright disappeared long ago.

Goodin, a former member of Reckless Panhandlers, doesn't venture outside the area too often. He's content with his current schedule because of the independence, both musically and socially, it offers.

'I'm happy to get paid enough for my bills and my gas to the next gig,' he said.

Revolution is just one stop on the weekly J. Goodin tour of Bryan and College Station. He also plays regular shows at Time Square, The Hook and The Groove.

Goodin's coarse voice transforms when he's on stage. There's no hint of the raspiness he has during normal conversations.

He said his musical influences range from Tool to Tom Waits.

'These were the artists I liked when I was young,' Goodin said. 'I spent a lot of time on the road as a child, so the stereo was my best friend.'

As their show last week went deeper into the night, the inside area of Revolution became more crowded.

Goodin and Morgan traded off sets, combining cover songs and originals but always sounding unique.

People in the audience sang along to many of the songs as their heads swayed back and forth to the rhythm of the music.

Just like the pair predicted, the Revolution audience was there to listen.

'There's a different kind of energy when they're listening,' Goodin said. 'When they're not, it's like they're sucking the energy out instead of you giving it.'

- Bryan Eagle


Mojo Kitty (1997) - The Reckless Panhandlers
Axes and Axioms (2002) - J Goodin (Canon Records)
Don't Come Out of the Hills, Boys (Sept. 2007) - J Goodin (Canon Records)



J Goodin is a collision of smashing differences. He is influenced by Elvis Costello .. .. and Dead Horse, and he'll sing them back to back. He is passionately in love with music, life, love, but he has only written a single "love-song" to date. He is quite allergic to metal, but he plays guitar, wiping the strings and washing his hands intermittenly, with his belt turned completely around, to defeat the buckle. His music is a lot like his life, a crazy amalgamation of all the different ecentricities that make him up. The sons of travelling sign painters, living now on a commune in Staten Island, never owning a phone, or trusting the government enough to open a bank account (driving his record label absolutely MAD, by the way). At the bottom, J has always lived by music, to guide him, pay him, entertain him, and inspire him.