Lucky Overton writes and performs a mixture of Americana and American roots music that can only be described as "Soulful Americana music." He currently resides in Alamosa county, Colorado.

The year was 1998. It was a humid spring day in Knoxville, Tennessee when Lucky Overton closed his guitar case, packed up his John Prine and Ray Charles albums and hit the road. The native Arizona songwriter was ready to return west. 

Since that day, Lucky Overton has become a notable Americana artist and a crucial part of the southwestern music scene. Running on the influences of East Tennessean Alt-Country and Georgian soul, Lucky soon became the inventor of new sounds such as ‘Soulful Americana Music' and ‘Grunge Folk.' Without a doubt, Lucky Overton has proven to be both innovative and entertaining: 

"Overton is a musical mutt who touches on many respected peers without getting pigeonholed into being the "next" somebody. That works for Overton. His working-man songs smolder, keeping the emotions close to the vest without ever allowing them to burst out. It creates a wonderful tension as he moves through his songs. His first full length and second release shows a young artist with promise as he refines his own sound." 

-Jeff Weiss, Miles of Music, 7/24/08 

Bars, bookstores, coffee shops and private parties have all been venues for Lucky Overton Music, but he has also played at many large events including: Pickin' in The Pines-Acoustic and Bluegrass Festival, The Flagstaff Music Festival, The Arizona Governor's Banquet and The Flagstaff Folk Festival. Lucky has also shared the stage with many talents including Hillstomp, Rafe Sweet, Right on John, Rand Anderson, Annie Vergnetti, Andrew Laugher, and Big Jon Myers. 

Lucky Overton's music has found its way onto both regional and international radio stations and shows such as Rootstime, Belgium, Radio Winschoten, Netherlands, KAFF Country's Under Western Skies and Mojo Dreams. Since 2006, Lucky Overton has produced and recorded two albums: The Portland Sessions-EP and College Town (both of which are available at luckyoverton.com, cdbaby.com and milesofmusic.com). 

"It's soulful Americana! It's like driving through the desert at midnight with no headlights and disappearing into the distant rhythm of heartbreak, hope and desperation. I am the bastard son of Gram Parsons and Aretha Franklin. I'm Ray Charles with a guitar in a country bar. I'm soulful, I'm white, and I'm Dylan doing nothing but Nashville Skyline. It's the music that makes you feel like Sam Cook, Hank Williams and Otis Redding are still alive." 

-Lucky Overton

 

PRESS: 

"Lucky Overton wraps his smoky pipes around little gems of Country and Soul, bordering at times on a less-raspy Paul Westerberg or a slightly more soulful Pete Droge. Overton's cadence and music conjure the story-telling of Robert Earl Keen. Overton is a musical mutt who touches on many respected peers without getting pigeonholed into being the "next" somebody. That works for Overton. His working-man songs smolder, keeping the emotions close to the vest without ever allowing them to burst out. It creates a wonderful tension as he moves through his songs. His first full length and second release shows a young artist with promise as he refines his own sound." 
- Jeff Weiss, Miles of Music, 7/24/08 www.milesofmusic.com 

"Lucky Overton is a singer-songwriter who strives for a perfect mix of Alternative Country and Soul. As a fan of performers such as The Rolling Stones, John Prine, Ray Charles and Otis Redding, whose music largely defined his life; it became quickly evident to this musician that he had to create his own "Soulful Americana" sound guided by these influences. He does that very cleverly on this CD "College Town", with 10 songs intended to create an image of his life and his emotions spanning the period from his 20th year to present. 

Lucky says that his songs are best suited for listening in a car CD player on a long trip over the expansive American highways. He is self-described as the bastard son of Aretha Franklin and Graham Parsons. The influence of these artists you can hear in songs such as "Thoughts of Rain", "Are You Alone Tonight?", "Sun City Skyline" (could also have been something of Jesse Malin), and closer, "Plane to North Carolina". The Soul influences are even stronger and more evident in "Ain't It A Shame", "Wet 20" and "My Braces". "Watch Your Back" leans more toward the Modern Jazz style, while the acoustic "Black and Blue" resembles strongly the famous songs of Neil Young. 

As a follow-up to his 2006 "Portland Sessions", "College Town" should establish for Lucky Overton a well-earned place in the crowded field of Americana talents." 

-Valsam, Rootstime, Belgium, 6/27/08 www.rootstime.be 

 

College Town 
Soulful Americana roots artist 
LUCKY OVERTON has a passion 
for writing and performing a 
beautiful blend of music that is 
mostly influenced by 60s and 70s 
country, rock and blues. 
Currently a Colorado resident, 
Overton has travelled far and 
wide plying his trade and 
converting audiences to his 
brilliant songwriting ways. In 
2008, the College Town album 
was unleashed on the world. 
This is a fantastic snapshot of 
everything that Overton is as an artist and has stood the test of time 
fantastically. Feeling this hidden gem has not had the attention or 
acknowledgement that it fully deserves, Aldora Britain Records decided to sit 
down with this master of song and chat about this remarkable time in his musical 
journey. 
You can watch Lucky Overton perform live sets on Instagram and Facebook Live 
via his profile @luckyovertonmusic. 
Photos by Julie Reisinger. 
LUCKY OVERTON IS AVAILABLE AS PART OF THIS ALDORA BRITAIN RECORDS 
COMPILATION. 
ALDORA BRITAIN RECORDS: Hi Lucky, how are you doing? It is a pleasure to be 
chatting. Thank you so much for your time! I was wondering if we could start 
off by rewinding time. What are some of your first musical memories and what 
pushed you towards pursuing music? 
LUCKY OVERTON: Hi Tom, I am well here, thanks. I am glad to be here. My first 
musical memories would include being sung to by my mother from the time I 
was a baby and on into growing up, singing in church or bible groups three days 
a weeks and later, coming up with my own melodies and lyrics and singing them 

Aldora Britain Records Est. 2013 | “Tomorrow’s Music Today” | AB55 | Page 43 
into a cassette recorded as a 10 year 
old. I picked up the saxophone for a 
few months in fifth grade and 
enjoyed making the sounds match 
the notes on the paper and 
performing a few school concerts, 
but was kicked out of the school 
band for talking too much! Per 
mom’s insistence, I stayed with the 
school choir for a few seasons. I felt 
like a dork, being one of only three 
dudes in a mass of girls, singing bass 
the whole time. But looking back, 
that experience, combined with the 
church singing really helped me learn 
to use and treat my voice as an 
instrument. As off as it may sound, I 
grew up as a child in a household with a strict Christian single mother, where 
secular music was forbidden. But we did hear it at a friend’s house and found 
ways to sneak in a listen to albums while mom was away. 
When I moved to Tennessee with my father for high school, all that changed and 
I was consuming as much of the secular music that I had missed as I could. As a 
late teen, I played bass in some Knoxville alt rock and punkabilly bands during 
the early 90s. I wasn’t really drawn into music though until I started playing the 
acoustic guitar. I recall holding the body of a cheap pawn shop Alvarez against 
my chest as I stummed and loving the way its vibrations calmed me. Once I was 
able to combine my voice with it, everything just fell together as a natural way 
to express and soothe myself at the same time. I just stuck with it as a 
singer/songwriter after that. 
ALDORA BRITAIN RECORDS: You originally hit the road in 1998 after a fateful 
day in Knoxville, Tennessee. Can you tell me a little about these early days, some 
of the experiences and the lessons you learnt? 
LUCKY OVERTON: I had a very possessive girlfriend at the time, so it took a nasty 
breakup to get away. ‘Ain’t It A Shame’ was written on that drive moving from 
Knoxville, Tennessee to Flagstaff, Arizona. I had been cooped up as a 
homebound songwriter for a good while and needed to return to my family in 

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Arizona where I am from. There were also 
some unsupportive, negative friends there 
to say goodbye to as well. 
Looking back, it’s kind of funny how 
seriously I took people back them. Choosing 
to catch all of the garbage that toxic folks 
threw my way. Taking it personally, instead 
of using it as a cue to move on. A big take 
away I learned is that you really don’t have to do anything at all in life, but die 
one day. Yet, it’s a good idea to put energy into relationships that feel right and 
to take risks when you are going after what you are passionate about. Make 
your mark before it’s all said and done. 
ALDORA BRITAIN RECORDS: Your innovative and entertaining style of roots 
music is something that always gets picked up on. How does this creative 
process work for you? Are there specific themes you enjoy writing about and 
who are your biggest influences as an artist? 
LUCKY OVERTON: Believe it or not, 60s and 70s soul has a huge influence on me 
as a singer. My favourite singers of all time from top to bottom are... Sam Cooke, 
“It’s a good idea to ... 
take risks when you are 
going after what you 
are passionate about. 
Make your mark before 
it’s all said and done.” 

Aldora Britain Records Est. 2013 | “Tomorrow’s Music Today” | AB55 | Page 45 
Ray Charles and Otis Redding. Hands down! I 
love the sound that human beings are able to 
create when they take an honest dig deep 
down inside themselves and pull out all of the 
longing, the hurt, angst and worry for all to 
hear in a howling quake, a soft whimper or a 
drowning moany. That stuff hits the listener’s 
gut right away. It reminds us that we are 
human, we hurt and life’s pretty damn hard. 
Songwriting influences are singer/songwriters 
such as John Prine and all of his deeply sincere 
lyrics that crush you beneath all of their heavy truth, Robert Earl Keen and the 
way he tells a detailed and meaningful story in three and a half minutes, Bob 
Dylan and the fact that his words entwine well enough to keep you interested 
well past six verses, and Kevin Kinney for his venture for Drivin N Cryin to release 
the brilliant acoustic album McDougal Blues. I think that the dirty, unpolished 
acoustic songs of The Rolling Stones on albums such as Beggar’s Banquet are 
worth mentioning as having a special place on my shelf of influences. 
As an artist, I work with the raw 
emotions of conflicts in life, the 
stuff we can’t change, but would 
if we could. The stuff we won’t 
ever be able to control. The 
people and the situations that 
hurt us and chip away at our very 
existence day after day. But the 
song and music is something no 
one can ever take away. I 
believe that the song is inside of 
us always, even before it is 
written down. The song lives 
inside me, awaiting for an 
opportunity, an emotional 
response to life, to be opened 
up. For me, the inspiration for a song could be anything from various forms of 
personal rejection or failures to surviving a dangerous rafting trip. As in ‘Wet 
20’. 
“I love the sound that 
human beings are 
able to create when 
they take an honest 
dig deep down inside 
themselves ... all of 
the longing, the hurt, 
angst and worry.” 

Aldora Britain Records Est. 2013 | “Tomorrow’s Music Today” | AB55 | Page 46 
ALDORA BRITAIN RECORDS: I 
would like to single out your 2008 
record, College Town. What are 
your memories from making and 
releasing this record, and how do 
you reflect on it now? 
LUCKY OVERTON: My memories 
of making College Town are all 
very fond. There were actually 
three studios used in the 
recording, along with seventeen 
talented musicians. Each player 
was a hired gun and/or friend 
who fitted the sound I wanted for 
each song. It was nice to have 
that much creative control to 
produce my own album. 
Probably the coolest memory 
from the album was staying the 
night in Multi-Purpose Studios, 
which was inside of the old Jerome High School, with Steve Botterweg. This was 
in the once-upon-a-time ghost mining town, now turned arts colony of Jerome, 
Arizona. In fact, the song ‘Black and Blue’ was recorded entirely in one take in 
the hall of the basement of that empty old school. The reverb is completely 
natural from placing another mic at the opposite end of the hall. It was kind of 
creepy and fun staying there. 
Various musicians played release gigs around Flagstaff with me and that was a 
hoot, especially before I moved. Unfortunately, for as high quality of an album 
that College Town was, and all the work that went into it, the release was very 
poorly timed. I was on my way to moving out of State to start a teaching career 
and the economic crash happened to boot. CD distributing deals folded and I 
found out the hard way that there was no room for music – or much of anything 
else – while teaching and, instead of touring in the summers, I spent it playing 
catch up with house repairs and revitalising a drained body and mind. So, the 
record really sat all of this time. The COVID situation forced me to get back to 
the heart of my existence. I re-evaluated my goals for the long run and I decided 
to end my full-time teaching job and give my music and writing a firm go. I really 

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appreciate Aldora Britain Records 
for giving this album a second 
chance at life. I would like to 
consider 2021 the re-release of 
College Town, the album I worked 
so hard to create but never got it’s 
fair shake. I rearranged the song 
order to make it more interesting 
too. 
ALDORA BRITAIN RECORDS: ‘Sun 
City Skyline’ is such an underrated 
song from these sessions. What is 
the story behind the track and 
what is it all about? 
LUCKY OVERTON: Well, there are 
a lot of heartbreak songs from the 
album as they were all written 
while I was in my twenties. I was dating an eclectic older woman who lived in 
Sun City, a suburb of Phoenix, Arizona, and I was a good three hours away in 
Flagstaff. We would meet up mostly when I drove down to see her, so that’s 
where a lot of the song’s imagery comes from. It took a while to figure out that, 
even though feelings developed on my end, I was no more than a boy toy of 
sorts for her. So, I guess, the song is really the only good thing to come out of 
the whole thing. Hopefully, some folks out there find it a relatable theme... we 
all want what we can’t have. 
ALDORA BRITAIN RECORDS: You are a multimedia artist too and like to write 
poetry and short stories. Can you tell me about this pursuit and what are the 
differences in your approach between this and music? 
LUCKY OVERTON: It’s taken a while to fully open up as a creative writer because 
songwriting has been in the forefront for so long, as an instant emotional 
expression to whatever life throws at me. Creative writing is a much longer, less 
instant process and I studied it for my undergraduate work, unlike songwriting. 
So, I guess there is a more formal approach to it. Lines for poems and ideas for 
flash fiction come randomly like lyrics but I enjoy odd themes. Such as narrating 
through the point of view of a discarded pair of goggles. Or comparing a 

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windsock to a missing trunk of a 
giant orange elephant. Just odd 
stuff that doesn’t fit into a soulful 
song. 
Story writing is much more 
painstaking because you need much 
more buy-in and convincing from 
the audience than you do for a 
twenty line poem or a three minute 
song. It has to be believable and 
hold interest. It’s a crazy process for 
me that I just learned to go with. I 
usually get an idea at around 5 am 
on my commute, jot down a rough 
synopsis and character sketches at 
work and cough out a rough draft on 
a break and lunch. I might record 
more anecdotal notes on my way 
home. Then, it sits for at least a 
week. From there, it is carefully re-read, many revisions are made and the 
writing critique groups have their say. There is a lot more structure to creative 
writing, even though I will be working on eight pieces at once. It isn’t much 
different than when I have the mic on for melodies that just come out of 
nowhere with a set of chords. I might work on several songs at once too. When 
inspiration hits, I have to be there for it, all the way. Thanks to my career change, 
I have that chance to fully focus on creativity. -Tom Hilton, Aldora Britain Records: A B Records Issue 55 (July 2021).pdf - Google Drive

 

"Lucky Overton is persistent. The hard work compliments Lucky's sincere, soulful acoustic sound. I hate to use the term "Americana folk," but it just fits so well. It is good, though. His lyrics are thoughtful and reflective and the music sets the perfect mood for a dimly lit bar or coffeehouse. When people think about a modern Zane Grey, sitting around Flagstaff downtown, looking for inspiration in a distant place, this is the music playing in the background. This guy could make a ton of side cash being a sonic muse for up and coming writers. You know you're good when you could probably make a killing inspiring things around you." 

-Mike Williams , The Noise, 5/01/08, www.thenoise.us/Noise 

"With an acoustic guitar, an earthy voice and biting wit, Lucky tells irresistibly down home, edgy stories. College Town is Dirty Americana at its best!" 

-Beth Dennison, Guerrilla Propaganda 

"College Town came out May first...but I don't think any of these songs are about tourism. There are references to being out of gas, never turning back, broken bottles, railroad tracks and such standard fare for right before the electric guitar kicks in and sends us home. 

"My Braces" mentions that Overton indeed lives in this college town. It's a good slow builder, life affirming, with a little sorrow attached like the braces to the narrator's legs. It's a short one. It's nice and kind of exemplifies the personal over political, but it's all political - political subject matter of the album. 

The album features a cadre of excellent local musicians, which create a dynamic community feel, and Overton's voice is great. On the other hand, "Black and Blue" is excellent, because it's more intimate, just the man and his guitar. The man can roll a good song alone. The horns on closing track, "Plane to North Carolina" are just perfect sweet and close out the album with distinction. 

Anyways, don't burn Lucky Overton's new CD College Town. It is a great album. Catch one of Flagstaff's finest songwriters soon." 

-Chipotle Frank, The Noise, 6/01/2008, www.thenoise.us/Noise 

"Lucky Overton's debut CD, The Portland Sessions-EP is a collection of powerful original acoustic material. The ever present raw emotion of each song is both clear and honest." 

-Lumberjack News