Release Date: June 21, 2011
Producer: Rick Beato and Corey Smith

About The Broken Record
The Broken Record epitomizes where I am, both personally and professionally. It is my salute to continuity amid
the trumpets of change, reconciling the freedom and recklessness of my youth with the security and responsibility of
the present. It contains old songs brought to life with more color and drama as well as new songs stripped down to
their essentials. For newcomers, The Broken Record will be a comprehensive introduction while long time fans will
discover it is my most revealing self-portrait, underscoring the familiar alongside the unexpected.

Track-by-Track in Listing Order (All songs penned by Corey Smith):

1. “If I Could Do It Again”
People often ask if I really did all the stuff I wrote about in this song. The answer is no. I only did about half of it.
Which half? I'll never tell.

2. “Carolina”
This song is another mixture of personal experience with a dab of fiction; it's a story about love and longing with a
very strong sense of place. Lake Hartwell, Spartanburg, Charleston and Clemson are all places I've developed a
strong connection to over the years, and I’m happy to pay tribute to them in verse.

3. “I Love Everyone”
When I posted an acoustic demo of this song on the website it immediately generated controversy among some
fans. Surprisingly, a few even vowed never to listen to my music again. That's when I knew it had to be on this
album. It's one of the most Christian and fundamentally American songs I've ever written—like an adult version
of "Jesus Loves the Little Children." I don’t have any regrets about including it on the record. If people find it
offensive, they can take it up with Jesus.

4. “No Way (Out with a Smile)”
We cut this track at Beato's studio in Stone Mountain during the spring. The session was running into the night and
we started to hear the sound of crickets and tree frogs bleeding in through Marcus’ drum microphone. I thought
that effect was kind of cool. It reminded me of sitting on the front porch at my grandma's house. So, we took a mic
outside and let the creatures have their own part in the track. I think it adds to the raw, unrefined vibe of the song in
a subtle way.

5. “Heart Attack”
When I go to church I take my journal instead of my Bible so I can write down my impressions of the sermon. This
song is a result of that practice. It is a philosophical kick in the nuts and I have a feeling it's going to leave people
asking questions. In fact, I'm still asking questions about it myself. But I'm okay with that. I've come to believe that

Label: Average Joe’s Entertainment
Single: “Twenty-One (2011)”

uncertainty is the foundation of faith. In many ways that idea is the foundation of this whole album.

6. “Broken Record”
There was a time when I believed there was a trade-off between commercial success and artistic freedom. Artists
could have one or the other, but never both. Now, after a few years of experience and a lot of new information, I
look back and wince at my naivety. Few things in life are ever that simple. “Broken Record” documents my coming
to terms with the tension between art and commerce and the realization that every artist must navigate the conflict
in his or her own way.

7. “Maybe Next Year”
This song began as a list of New Year's resolutions made back in 2004. After laying out all the things I needed to
change about myself, it dawned on me that the list looked almost identical to the one I wrote the prior year, and
the year before that, and the year before that, and so on. Sadly, this could only mean one thing: I never followed
through on my resolutions and continued engaging in the same undesirable behavior year after year despite my
annual commitments to change. In light of that realization, I decided to be more candid with myself—to call a spade
a spade—and acknowledge my attempts at drastic and sudden reform were useless. In reality, genuine change
seldom occurs overnight. It is usually painfully slow and requires more effort than most of us ever want to admit,
especially on New Year’s Eve.

8. “Backroad”
By far this is the most titillating track on the album and I wish I could say it was written from personal experience.
However, I must admit it's more fantasy than anything else. I love that it conjures up such explicit imagery without
using vulgar language. It speaks to the power of innuendo.

9. “New Day”
Regardless of how we each may have voted, it is impossible to deny that President Obama's election in 2008 was a
pivotal point in our history. Conservatives and liberals alike agree that America is a land of opportunity and the fact
that we elected our first African-American president speaks to the power of freedom and the potential of democracy.
Perhaps it's the Social Studies teacher in me, but I felt compelled to put my impressions of this historic event into a
song. This was written on Nov. 5, 2008—the day after the election.

10. “Sugar Daddy”
I'm a huge fan of Randy Newman. He often uses a device which he refers to as "the untrustworthy narrator,"
whereby he writes from the first person perspective but expresses a viewpoint that is not his own. "Sugar Daddy"
is one of my experiments with this approach. Consequently, it is one of the more intriguing tracks on the album and
holds a special place in my mind because it opened up a new level of creative freedom.

On a side note, I would like to thank the creators of Cabela's Big Game Hunter video game for inspiring this song.

11. “Twenty-One” (2011)
I'll never forget the first time I played "Twenty-One" in front of an audience. Around 75 of my closest friends and
family were gathered at Mike's DownUnder (the only bar in Jefferson, Georgia) listening to me belt out a bunch of
songs in between shots of liquor. They were hootin' and hollerin' and carrying on as usual until I introduced this
new song. By the time I got to the second verse, I could feel everyone hanging onto the words. I could hear them
reacting to lines as they were being sung—some met with nostalgic sighs, others with laughter, and others with
cheers. When it was over, my friends roared with approval and I looked around the room at their expressions. Some
were grinning from ear to ear, others were fighting back tears, and a few were already saying, "Hey C-dawg! Play it
again." I knew I had done something right.

Like the friends for whom it was written, "Twenty-One" will always hold a special place in my heart. It changed my
life and made my music career possible. It seemed fitting to include it on this pivotal album and finally give it the
production treatment it deserves. With colorful instrumentation, a tighter arrangement, and an updated third verse,
the drama is enhanced but the original authenticity remains preserved. Although it was first written and recorded
over seven years ago, I hope it is as meaningful and relevant as ever.

12. “Something to Lose”
It might seem an unlikely source, but this song was inspired by a line in the movie Shallow Hal. Although it is a
rather silly comedy on the surface, the film houses a powerful message about the nature of love and romance. It
struck a chord, reminding me of the first date with my wife and how terrified I was. The song is my re-telling of that
story and is based on the idea that intimacy involves great risk. In order to connect with someone, we must be
willing to put ourselves out there, putting our "hearts out on a limb." (The original version of this song is my wife's
ringtone, by the way.)

13. “Down to Earth”
When the Tiger Woods controversy started swirling around last year, I was in the middle of reading a great
philosophy book by Jacob Needleman called Why Can't We Be Good? It's about human nature and morality
and specifically addresses the fact that most of us are incapable of behaving the way we ought to behave. It was
very relevant to what I was seeing everywhere about Tiger and made me think of all the countless celebrities and
politicians who've been persecuted for not being better than the rest of us. I found myself asking, “Perhaps the
problem lies less in their imperfections and more in our unrealistic expectations.” "Down to Earth" is the result of
my trying to make sense out of the issue.

14. “Silly”
We recorded this song in Athens, Georgia at the Rialto Room which is a unique environment. The musicians were
all in one room—set up in a circle so we could see one another—with spectators hanging around on the periphery,
taking in our performances. It was a playful environment to record in and suited the needs of this song perfectly.
The track effectively captures the vibe in the room. It is relaxed, organic and rough around the edges. It was a fun
song to cut, and I remember laughing and smiling during the performance. In fact, a subtle giggle can be heard in
the vocal on the last verse. To me, that's the magical stuff that can't be faked with technology.

Overall, however, the track makes me think of my two boys—the unbridled joy they have given me and the many
lessons they have taught. It is a fitting finale to the album which is dedicated to them. You're right kids; Daddy
doesn't have the answers, but I can give you some pretty good guesses.