
Whitey Morgan is no stranger. He’s played Eugene countless times. But no matter how well we think we know the man, he keeps coming up with new surprises. In late 2014 he released two records side by side, each of which offers its own clear window into Whitey’s soul.
The first, Born, Raised & Live From Flint, is just the way it sounds — a raucous, whiskey-soaked performance for a sold-out crowd in Whitey’s Michigan hometown. The second, Grandpa’s Guitar, is an all-acoustic collection of songs dedicated to Whitey’s grandfather, the man who taught him how to play guitar and pick along to country.
This second album is softer and certainly more heartbreaking than the live record. The title track is fat and swollen with emotion — a tear duct about to burst. Whitey’s voice sustains its usual crisp twang, but there’s something in the formation of each word that sounds as though he’s set to choke.
“These songs are as close to the real me as I have been in a long time,” Whitey writes of “Grandpa’s Guitar.” And that about sums it up. From the first new-string pluck of “You’re Still On My Mind” to the drunken, motel-recorded slurs of “Dead Flowers,” the songs on this record — some of them prior hits — take on new personalities.
In accordance, Whitey himself also shape-shifts: This is a man known for his board-stompin’ good times, howling harmonicas, slithering dobro and square-dance honky-tonk swing, but “Grandpa’s Guitar” shows a pensive, intimate Whitey, spurred by something deeper.
“This album is dedicated to my Grandfather, William Henry Morgan,” Whitey writes. “I picked a couple that he loved and some that have always kept me company in many dark, lonely motel rooms across the country.”
To wrap the whole thing up, Whitey threw in the emotive kicker: The closing track is a cassette-tape recording of Grandpa himself, picking away in a dark basement, another place and time, saved forever in a shoebox somewhere in Whitey Morgan’s strange, surprising world.
Whitey Morgan & the ‘78s play with Nashville’s Joe Fletcher 9 pm Thursday, Jan. 22, at Sam Bond’s; $12. 21-plus.
A Note From the Publisher

Dear Readers,
The last two years have been some of the hardest in Eugene Weekly’s 43 years. There were moments when keeping the paper alive felt uncertain. And yet, here we are — still publishing, still investigating, still showing up every week.
That’s because of you!
Not just because of financial support (though that matters enormously), but because of the emails, notes, conversations, encouragement and ideas you shared along the way. You reminded us why this paper exists and who it’s for.
Listening to readers has always been at the heart of Eugene Weekly. This year, that meant launching our popular weekly Activist Alert column, after many of you told us there was no single, reliable place to find information about rallies, meetings and ways to get involved. You asked. We responded.
We’ve also continued to deepen the coverage that sets Eugene Weekly apart, including our in-depth reporting on local real estate development through Bricks & Mortar — digging into what’s being built, who’s behind it and how those decisions shape our community.
And, of course, we’ve continued to bring you the stories and features many of you depend on: investigations and local government reporting, arts and culture coverage, sudoku and crossword puzzles, Savage Love, and our extensive community events calendar. We feature award-winning stories by University of Oregon student reporters getting real world journalism experience. All free. In print and online.
None of this happens by accident. It happens because readers step up and say: this matters.
As we head into a new year, please consider supporting Eugene Weekly if you’re able. Every dollar helps keep us digging, questioning, celebrating — and yes, occasionally annoying exactly the right people. We consider that a public service.
Thank you for standing with us!

Publisher
Eugene Weekly
P.S. If you’d like to talk about supporting EW, I’d love to hear from you!
jody@eugeneweekly.com
(541) 484-0519