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    Music Notes

    Cory Morrow talks songwriting, Bob Schneider and Texas country music

    Dixon Milner
    Apr 11, 2013 | 11:39 am

    Cory Morrow has a new home and a new family as well as some new music in the works. Considered one of the founders of the modern Texas country music scene, Morrow has penned some very popular songs and built a big following on tour. His newer music displays maturity in both the style and content, but his live shows continue to excite crowds.

    Some of his most popular songs include “21 Days,” about the trials of building a following on tour, and “Nashville Blues,” about struggling with record labels in Nashville. Recently he has released popular hits like “Lead Me On.” Fans have accepted his new music despite its less party focused direction.

    Recently we spoke with Morrow about what he’s up to these days, his take on current Texas country music, and his thoughts on Dallas as a Houstonian.

    CultureMap: What are you working on right now?

    “There is a visceral truth about everything Bob Schneider writes and sings and plays,” Morrow says.

    Cory Morrow: I’m writing songs and still touring. I'm in the middle of writing for the next album. The only bad thing about the new songs is that the band doesn’t know how to play the songs yet, so I can't really play it in the full band live show.

    CM: Where do you live now?

    Morrow: Just west of Austin. I like living out here; I’ve been out here around a year. I don't think I want to move back to the city. I've known the appeal for the last 38 years of my life. This is something different, something very peaceful about being out here.

    CM: Do you have a favorite place to write songs?

    Morrow: At home, because I enjoy writing with the family around. When I go to Nashville, I write with a lady named Liz Rose, who’s great to write with. I enjoy writing with Walt Wilkins and Brian Keane too. I got to go out to Marble Falls about eight years ago and write with Radney Foster for a weekend in a cabin on a lake. That was pretty great.

    CM: You have a pretty unique voice and sound. How did you get that originally? Did it take awhile to get comfortable as a musician?

    Morrow: I don't think I'll ever be totally comfortable with it. Some days it works well and I have good control, clarity and tone, and I feel blessed but I'm always in critique of it. As far as some familiarity, it took a while.

    When I first got to Austin in 1994, I made some demo tapes. I cringe when I listen to them now, because my voice is high and shrilly, and you can tell I'm trying to figure things out. As you go on, you hear me trying to control it and make it pretty. Now I'm just singing out and hitting the notes I want to, and it’s easier to sing.

    CM: You’ve named Bob Schneider as an influence — the only non-Texas country act you list. What influence do you take from Bob Schneider?

    Morrow: There is a visceral truth about everything he writes and sings and plays. The way his music comes across, I hear every instrument and voice the way I think he intended it to be heard. He's able to get across everything on a record that he wants to. His writing is so out there.

    I used to think he took a lot of drugs when he wrote, but I found out he's been sober for a long time. And the stuff he's doing now, how do you come up with that stuff? To me he has a connection. I don't know his faith, but he has to have something spiritual, and he has a gift and he's an inspiration. I really get a kick out of it.

    He can take apart an emotion and all of a sudden, I'm feeling something that I forgot about or I’m taken to another place. It's very unique. His voice is great too.

    CM: Being from Houston, how do you feel about Dallas?

    Morrow: I like Dallas. There's something about each place. It may be the Whataburger, but each place has something. I do truly love spending time in Dallas with my friends there.

    Some of the neighborhoods like Highland Park and the area around Greenville Avenue are beautiful and have great houses. There are some great golf courses too. I like the freeways; I like how it’s impossible to get back on the Tollway once you get off.

    CM: Have you played the Granada before?

    Morrow: Yes, a handful of times. I love the theater feel of it. We get fired up about the show because you can connect with the audience.

    CM: What's your favorite song to play?

    Morrow: Right now I like playing songs called "Nothing Better to Do" and "Love like This." There’s just something about those melodies, and the band is so comfortable with those songs that we just hit at the same time and we groove. Everyone has them in their back pocket, so to speak, and we don’t have to think about it. Everyone enjoys playing together; we become one unit. Those songs are fun, and they lift me up.

    CM: How true to life is the song “Nashville Blues?” Were you ever arrested in Nashville, like in the song?

    Morrow: I haven't been arrested there, but it’s a story I made up. I didn't have a whole lot of life experience, so I had to take some liberties, but it’s basically saying, “Here’s the music I like and this is what I think real country is and these are the real songwriters and my heroes.” It’s about how when I went up to Nashville and said, "Hey here I am," with my cowboy hat and I wanted to write songs and they said, "You’re an idiot, go away" and that hurt my feelings.

    When I wrote that song, I wasn’t trying to diss anybody. But fans liked the message, and bashing Nashville got me where I wanted to go. I love that town and enjoy myself there. It’s similar to Austin. There's an aspect of its that cold-hearted, but there’s a receptive aspect too.

    It’s a bummer because I’ve been outcast, and some people won’t write with me. It is what it is. That song was never intended to put Nashville down; it was just saying I got the blues.

    CM: What’s your take on the state of Texas country music?

    Morrow: I think it's doing pretty good. There are some great writers out there and unique performers. There are cycles and seasons just like with anything, and there's some great music that's coming out of it.

    Brian Keane has some music that's exciting, and the Dirty River Boys have some new and cool and different music. There's some stuff that's not necessarily Texas country and there's stuff that is.

    Cody Johnson, he's new and his stuff is so raw and nobody has really embraced it the way he has. His sound is like Merle Haggard, George Jones and Hank Jr. He's true cowboy country. He writes ballads and songs as opposed to that corny honky tonk music that someone like Kevin Fowler makes. And Kevin will be the first to admit that.

    CM: You’re pretty accomplished in your career, and you have a family now. What are you looking forward to?

    Morrow: I’m excited about my life with my family and my walk with God and my new direction and what's important to me in life and trying to fulfill that every day.

    --

    Cory Morrow plays the Granada Theater April 12 with opening acts Convoy and the Cattlemen and J. Charles & The Trainrobbers.

    Texas country songwriter Cory Morrow plays the Granada Theater April 12.

    Cory Morrow at the Granada
    Photo courtesy of Cory Morrow
    Texas country songwriter Cory Morrow plays the Granada Theater April 12.
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    Movie review

    Over-the-top The Bride! makes other Frankenstein movies seem subtle

    Alex Bentley
    Mar 6, 2026 | 12:15 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

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