19 Search results for "big & rich"


We have a long history with country hitmakers Big & Rich, and were thrilled to get the chance to work on another project with them. On their new album, Hillbilly Jedi, they step things up a notch or three with a diverse array of songs, including the first track, “Born Again” which features Bon Jovi in a key role, both in co-writing and performing on the song. Word on the street is that Jon Bon Jovi himself suggested calling the album “Hillbilly Jedi,” and when everyone at the label (and us!) suggested that would be a legal problem, Jon personally called George Lucas to get clearance on using the word “Jedi.”

The creative process revolved around the attitude and contradiction in the title, and the result is cowboys-in-space with shades of steampunk. With some heavy-handed photo manipulation, film-credits-inspired type treatments, and a healthy dose of caffeine, we assembled the key images from the shoot combined with images from several other sources (including NASA) and developed the brand for the album, along with the physical packaging and digital album elements, to create what we think is the only country album of its type for some time to come :)

The album is available via Warner Music, iTunes, or Amazon, among other retailers.

Pepsi Can - Final Product

Collide worked with Pepsi Co. to create these special artist themed cans for their artist series. Pepsi chose an artist from 3 major genres (along with Big & Rich, All Star Rejects and Pharrell Williams also had can designs as part of the series) and we were honored to have the opportunity to work with them on this.

We sought to appeal to Millennial generation by creating a can whose featured artist would need to be “discovered” in the design. As you can see, the design doesn’t exactly scream Big & Rich – unless you know them. By including key elements such as their silhouettes – note their distinctive profiles and hats, the signature “swirl” element that has appeared on several projects since their first album, along with silhouetted instruments, an icon representing Big Kenny’s hat, and the phrase “Love Everybody” – any fan of Big & Rich would recognize what it represents, and along with other curious Pepsi drinkers, would be drawn to follow up on a special URL included on the can to find out more.

These were available for a short time all over the world.

Contribution: Design





Download a PDF of this press release.

Jenn dePaula

Collide Creative Expand Their Impact Beyond Design with Award-winning Film and Video Production Services

(NASHVILLE, TN) January 8, 2013–The power of a strong visual is something Collide
Creative knows a lot about. Serving a wide variety of industries over the years with
superior graphic design, art direction, and brand strategy, owners Kevin Tucker and
Becky Tucker recently announced the addition of video and film production and motion
graphics to their list of services. Collide Creative is best known for uniting a unique and
strategic brand approach to all that they do, and the addition of video and motion
graphics is a perfect fit within their area of expertise.

“At Collide we have always prided ourselves on the ability to connect with audiences by
building on a brand’s personality and expanding its story,” shares Kevin Tucker. “We’ve
kept our side projects separate for years, but they have slowly started to intersect. Now
is a great time to bridge them together and strengthen our client offerings, as a
complete creative studio.”

Video and film production as well as writing are passions that the Collide team share
and one that they hold years of experience and success in. Their work has not only
gained them notoriety but several accolades within the Nashville film community. Kevin
Tucker and Becky Tucker won the 2007 48-Hour Film Project, were named as an
Official Selection of the 2008 Nashville Film Festival and 2012 Film-Com Convention
and were nominated for Best Film Production Design for “Covering Your Tracts” at the
Gideon Film Festival. In addition, they were an Official Selection of the 2012 Film-Com
convention with a TV Pilot that they wrote and produced.

“With video projects, much like design and branding, we start the creative process by
listening,” states Becky Tucker. “Understanding the brand, its audience, goals, and
challenges, are essential to our ability to expand and strengthen the brand’s connection.
Collide is quirky. There’s just no other way to say it! We focus on extreme and lasting
reactions and strive to make that the result of everything we do.”

Their experience with video and film production is an all encompassing one, which fully
complements & enhances the services that they already provide. Their unique skill sets,
experience and enthusiasm for excellence makes them stand out from the crowd. Their
newly launched website shows examples of their work at

Collide Creative is a Nashville-based creative studio that specializes in strategic,
conceptual creative solutions, from logo design, identity, to product packaging to
websites, broadcast, direct mail, motion graphics, video and film production and more.
Past clients & projects include: Pepsi,Warner Bros. Records, Sony Music Nashville, EMI
Christian Music, Austin Peay State University, Word Entertainment, Anthem Pictures,
Dye VanMol & Lawrence (DVL), FiveStone Studios, Saylor’s Brothers Entertainment,
GACtv, The History Channel, Healthspring, Cabedge, Shoney’s, Willie Nelson, Larry the
Cable Guy, Amy Grant, Big & Rich, Sandi Patty, Bill Engvall, and Phil Keaggy, among

For more information on Collide Creative, please contact:
Collide, LLC
P.O. Box 1210 Goodlettsville, TN 37070

Kevin Tucker
Director of Momentum

Becky Tucker
Director of Trajectory

# # # #

What is Barcamp? Well only the free-est “unconference” this side of well, the moon (or at least that life-sized Elvis statue down on Broadway, you know the one). It’s a technology-based conglomeration of seminars and networking opportunities, featuring together some of the smartest and most creative minds in the city. Even if you aren’t big on learning, it’s kind of fun too. Oh and did I mention swag? : )

Barcamp Nashville logoIf you’ve never been to Barcamp, this is the year to go! Why, you ask? Because we’ll be there and with a seminar title like Dumpster Diving As Creative Strategy,” how can you resist!? Our session was added after the initial registration so if you’ve checked out the sessions already and don’t remember it, it’s because it wasn’t there!  Below is a preview of what you should expect to be “hauled out of the trash”:

Successful creative frequently involves out-of-the-box thinking… but sometimes it’s worth considering what’s IN the box… that big metal one in the alley. Ok, the dumpster here is (mostly) metaphorical… what I’m really talking about is drawing resources and inspiration from cultural relics, shared history, and working within limitations to create impactful, on-brand communications that connect to the audience in meaningful, lasting ways.

With a heavy focus on brand strategy, we will walk through some examples of projects where this approach was successfully applied, and the “dumpster diving” methodology for taking fragments of culture from the past was utilized by reshaping them for impactful, engaging visual communication.

We’ll talk about how to:

• Utilize vintage source material directly in creative projects (and what legal limitations you’ll need to keep in mind)

• Use examples of found relics of classic culture as inspiration, even in unexpected contexts

• Create compelling deliverables by best using available source materials (even if poor quality) in successful ways

• Seek out unexpected sources of inspiration and resources

• Maintain brand messaging, goals, and objectives while engaging the audience emotionally

Examples cited will include identity, print, interactive, video, and motion projects for clients such as Big & Rich, Willie Nelson, Pepsi, Larry the Cable Guy, Austin Peay State University, The Village Chapel, AIGA, Ringling Bros. Circus, Re-Maginations, ThunkTV, Prevent Child Abuse Tennessee, and more. Also, in the process, we’ll see a rare peek inside the process and production, and pull out some examples from our stockpile of obscure books and relics that are waiting to be utilized for future projects.

Online registration ends Tuesday, Oct. 16. (After that, you can sign up for sessions when you arrive, if seats are still available). Find us in the Poker room at 9am!

BarCamp Nashville 2012 will be held at Tequila Cowboy (formerly Cadillac Ranch), 305 Broadway, in downtown Nashville, near the corner with 3rd Avenue South.


And while you’re at it, check out Re-maginations: New World Storytelling-Using Transmedia to Create Your Tribe @ 2:25 in WannaB’s #bcn12story


This album, seen as a next step in Big & Rich’s career, pushed them forward into more of a pop-country spectrum, tackling some serious subject matter, while maintaining their edgy vibe. Big Kenny and John Rich silhouette the cover with guitars crossed in “swordfight” pose, amid a horizon split between the simple country life, and the big-city party scene… symbolizing the battle between “Raising Hell” and “Amazing Grace.”

Kevin had the pleasure of art directing the 2-day shoot for Warner Bros., with the tremendously talented Frank Ockenfels behind the camera.

Contribution: Art Direction, Design
Photography:Frank Ockenfels 3

Big & Rich are nothing if not dedicated to their fans. Their second “Fan Pak” release, featuring rare tracks and videos, reinforced this dedication. Building on the “Super Galactic” concept, we created a vintage-style outer-space board game theme. You can actually play the game, which folds out on the back of the poster insert (The only catch is, you can’t actually win… but you can have a lot of fun reading the credits that are interspersed in the game, which is its real purpose). Also included are cut-out figures of Big & Rich, and the CD & DVD can each be used as spinners.

Contributions: Design, Illustration, Copywriting (game board)
Art Direction: Katherine Petillo

Collide would like to take time to congratulate John Rich on his big win on Celebrity Apprentice. John raised over 1 million dollars for his charity, St. Jude Children’s Hospital, in Memphis!

If you happened to see the show, you may have noticed the first Big and Rich album (designed by Collide) in the opening credits! If you missed it, check it out here. For other Big and Rich album design, check out our portfolio.

(continued from Part 1)

Comin’ To Your City

By the time their second album was in the preparation stages, Big & Rich had become quite a success, and there had been many changes at the record label. I was thrown headlong into the second album project, and after we settled on a concept for the cover, I set about getting the final imagery to have the right look. I had in mind a very specific aesthetic for the globe on the cover – a vintage-looking globe with “chunky” topological features and not much other detail. I searched high and low, scouring stock collections as well as antique stores, and just when I was about to give up hope of finding just the right globe, I was on my way to one last antique shop, when, while stopped at a traffic light, I found it on the side of the street.


Left: The globe as seen on the side of a building; Right: The final Big & Rich: Comin' To Your City packaging.

It’s very seldom that a “Eureka” moment happens in the course of a project such as this, but this was one– there it was, mounted on the side of a building. To this day, I have no idea what business had existed in years’ past that warranted a huge globe as part of its signage, but at the time the building was occupied by a cleaning company and an attorney, as I recall, and the globe is still there as of this writing. After some difficulty in tracking down the owner, we worked out a deal, and I had photographer Eric May capture the globe from several angles. (By the way, if they ever tour China, India, or Australia, I’ve got an alternate cover image). The band had put together an outlandish photoshoot independently, utilizing the talents of the recently wed Christiev Alphin as art director & stylist, and photographer Kristin Barlowe, and incorporating everything from buffalos and camels to a bank robbery scene, to… a life-size plastic cow.


Packaging elements for Big & Rich: Comin' To Your City

Sadly, on the day of this album’s release, we bid farewell to Warner Nashville’s Creative Services director Eric Mansfield, who was tragically shot in a carjacking. I had worked with Eric for several years at that point, and though we were only “work friends” I have to say I was very impacted by the tragedy. Eric was one of the kindest people I’ve ever had the privilege to work with, or probably ever will, and I know that everyone whose life he ever touched thought very highly of him. It is some tiny solace, however, to know that the two young men responsible are currently serving prison sentences.


Left: An example of the print ads for the project (this one a 'congrats' ad for their ACM nominations); Right: An industry marketing piece titled "A Field Guide to Big & Rich."

Click here to see the interactive version of the above print piece, created with the help of the very talented Jake Stutzman.

The Pepsi Challenge

The following year, I got a call from the label asking me help coordinate some artwork between the label and Pepsi, who was doing a co-promotion on an upcoming can design. It was unusual campaign, aimed at “Generation Y” and relying on a “discovery” promotional method, in which consumers are intended to mentally connect the dots between the visual clues and a special website printed on the can. It was part of Pepsi’s “Artist Series” which also featured All American Rejects and Pharrell Williams. After several discussion with Pepsi, their agency, the band, their management, and Warner Bros., it was decided that Pepsi would hire me to do the design of the can. Of course I was thrilled, and to date the resulting product has the highest print run of anything I’ve worked on (by several million). It was a complex process involving five different parties with varying levels of approval. Below are a few of the 70+ options presented, as well as the final product.

A few of the comps presented for the Big & Rich Pepsi can, including a near-final version (bottom-right)

A few of the 70+ comps presented for the Big & Rich Pepsi can, including a near-final version (bottom-right)


The final product of the Big & Rich Pepsi can.

Coming in Part 3: Super Galactic Fanpak 2, Between Raising Hell & Amazing Grace, Greatest Hits, the Bell Witch, a duel, and an unwinnable board game.

Today marks the release of Big & Rich’s Greatest Hits on CD & DVD, so this seemed like a perfect time to take a little walk down memory lane on the past 6 years of working with the genre-redefining band (and brand) known as Big & Rich.

It’s a rare occasion (at least for me) to have worked on every release by an artist from their debut album through their Greatest Hits album, and I’m honored to have that distinction. Big Kenny & John Rich are two of the most talented guys in the business, and it has certainly been an interesting journey.

All 6 Big & Rich releases, designed by Kevin Tucker / Collide Creative

All 6 Big & Rich releases, designed by Kevin Tucker / Collide Creative

A Horse Of A Different Color

I had been working with Warner Bros. Records Nashville for a little while, having worked on a few projects including a sadly-never-released Neal McCoy album, under the art direction of the late Maude Gilman-Clapham (whom I had had the pleasure of working with previously at Word), and the CD packaging for the first Blue Collar Comedy Tour. Warner Bros. put on a big red-carpet premiere for BCCT at the Belcourt Theatre, and Becky and I attended. At the show, we couldn’t help but notice a couple of odd-looking gents a couple of rows behind us who caused a few distractions during the show (can you imagine sitting behind Big Kenny’s top hat in a movie theater?). Something about them stuck out in my mind, and the next day, I spoke to then-WBR-creative-director Janice Azrak (now a citizen of the great state of Hawaii) about some current projects, and couldn’t help asking who those guys were, and she told me they were a new act who had just been signed at Warner. Now, I’m not sure if it was this conversation, or the fact that Janice had an affinity for what she had seen in my work up to this point, but a few weeks later, I got a call from her to come and meet about their first album.

Honestly, I would have never thought they would have been as successful as they soon became. I liked what I heard of them – it was different and refreshing, and they were even-handed with elements of humor and heartfelt seriousness, all of which appealed to me very much, but I kind of saw it as a niche, and thought it would be a great project to work on. I have never been so happy to be so wrong!

From the beginning of the project, we had the issue of the logo that has adorned all of their album covers. Many people probably assume that this is something I created originally, but, in fact, the original version was created by friend-of-the-band Bob Morris, and and it’s something that I have continually modified along the way, based on the original.

Big & Rich logo evolution, starting with the original logo (designed by friend of the band Bob Morris) and continuing through its Tucker/Collide-modified iterations.

Big & Rich logo evolution, starting with the original logo (designed by friend of the band Bob Morris) and continuing through its Tucker/Collide-modified iterations.

It must be said that I was never happy with having to use this logo, and that I frequently proposed that we create an entirely new one, both on the first project, and on subsequent projects, but they were dead set on using this one, and on being consistent by using it repeatedly on future albums. But, of course, being asked to use artwork from an outside source is not uncommon at all, and plenty of successful acts ave consistently used the same logo treatment on their albums, so I certainly can’t fault them for that decision, and I think a key influence is that their management company also managed the career of Alabama, who is a prime example of this.

The process that led us to the cover for the first album, Horse Of A Different Color, was a long and winding one. Despite many alternative options, we kept coming back to the aforementioned logo, and a “swirl” element that I had created an early promotional sticker which the label, band, and management were all very fond of for some reason.

Early, rough cover mockups for Horse Of A Different Color, and, bottom right, the final cover.

Early, rough cover mockups for Horse Of A Different Color, and, bottom right, the final cover.

The album was a huge success, thanks in part to the hit “Save A Horse (Ride A Cowboy).” In the initial run, we ran the album in 3 different colors: red, blue, and purple; and the following Christmas, we did a green & red version with snow on the logo (which I think was a bit confusing, myself, because it made it seem like a Christmas album), and the band had a loyal fanbase.

Packaging for the first "Big & Rich's Super Galactic Fanpak" - design by Kevin Tucker

Packaging for the first "Big & Rich's Super Galactic Fanpak" - design by Kevin Tucker

Backwards & Upside-down

Before long, there seemed to be demand for another product, and so the label conceived of the unconventional “Fan Pak” idea – a 2-disc release that comprised a CD of a few tracks of unreleased material (live, remix, etc) and a DVD containing photos and videos. The resulting project, Big & Rich’s Super Galactic Fan Pak was packaged unconventionally, using an idea I borrowed from Beth Lee (who conceived the idea a few years earlier for Squint Records’ Sixpence None The Richer and Burlap To Cashmere albums), where we use a standard jewel case package, but put the inserts in “backwards and upside-down” so that the back/traycard is used as the cover (thus confounding manufacturers and rackjobbers to no end). This made something a little unusual without adding to manufacturing costs. The packaging was inspired by vintage comics and pulp fiction, and the credits were built into something slightly resembling a “game” – an idea which I think we executed much better in the subsequent Super Galactic Fan Pak 2 (more on that later).

In Part 2 of this retrospective: Comin’ To Your City, Between Raising Hell and Amazing Grace, Super Galactic Fanpak 2, Greatest Hits, Pepsi, and more.

Collide LLC is a creative studio based in Nashville, Tennessee. Headed by Kevin Tucker, Collide provides graphic design, art direction, writing, production, and branding strategy & consulting services for print, web, video, motion and interactive for clients in entertainment, publishing, music, healthcare, tourism, ministry, technology, advertising, marketing, and other industries. We specialize in strategic, conceptual creative solutions, from logo design, identity, to product packaging to websites, broadcast, direct mail, and beyond. Collide is your creative services resource for Nashville and beyond. We’re the visual media experts who will help breathe life into your brand marketing.

Our Philosophy

The philosophy behind Collide is both about the process and the results of a successful collaboration: With you, our clients, and with the best creative talent and resources available, to achieve powerful communication solutions for your brand message. Once communicated effectively, every brand message will elicit the intended reaction in the target audience. This is something we refer to as ”The Moment of Impact.” You understand your brand, your product, your service, your organization, we understand how to communicate it effectively, and implement the message across all relevant visual media. But only together can we achieve this. By utilizing resources and talent both in-house and externally through strategic partnerships, we are able to assemble a group of focused professionals, achieve effective results in print, online, and on-air. Contact us to set up a meeting to learn more!

Who We Are

Kevin TuckerKevin Tucker is the co-founder & Director of Momentum. Kevin’s role at Collide involves creative leadership and art direction, as well as design and brand development. Kevin is also a producer, director, and writer of short films and independent commercials, along with documentaries, informational videos, and book trailers. Kevin is also an active professional community leader among the Nashville design industry, serving as a mentor at the Nashville Entrepreneur Center for Project Music, and co-created the Think Tank conference and Case Awards events for AIGA Nashville. His favorite movies include Back to the Future and The Royal Tennenbaums, and in addition to being an avid music fan, he counts collecting vintage instructional books, writing, and filmmaking among his favorite hobbies.

Becky TuckerBecky Tucker is the co-founder & Director of Trajectory. Becky’s role at Collide involves marketing strategy, client relations, project management, and online media promotions. Becky is also a producer, writer, and director of photography of short films and independent commercials, along with documentaries, informational videos, and book trailers. Becky is also an actor, playing roles in short films, commercials, and advertising shoots. Her favorite films include Love Actually and Goonies and she is an avid collector of flamingos.


Collide’s past clients & projects include: Pepsi, Warner Bros. Records, Sony Music Nashville, EMI Christian Music, Austin Peay State University, Word Entertainment, Dye VanMol & Lawrence (DVL), FiveStone Studios, GACtv, The History Channel, Healthspring, Cabedge, Shoney’s, Willie Nelson, Larry the Cable Guy, Amy Grant, Big & Rich, Sandi Patty, Bill Engvall, and Phil Keaggy, among others.

We work with clients large and small, and are always open to discussing new and interesting projects to which we can bring our unique combination of skills. Please drop us a line – we’d love to talk to you!

Here are some testimonials from past clients:

Took great care to understand the intended audience and to create innovative compelling visuals for that demographic.
We're very pleased with the results.
— Derri Smith, End Slavery Tennessee

No doubt… graphical bad-@$$!! — Big Kenny, of country act Big & Rich

We went into our first meeting thinking "we need someone to design a logo for us" & left knowing we had found a great resource to help us develop and implement a branding strategy. — Bill Decker, Decker Wealth Management

Their ideas and collaborative approach are always original and inspiring.… there isn't anyone better! — Marcus & Jenn Depaula, Mixtus Media

Able to take our out-of-the-box concepts… and bring them to life in a totally entertaining and compelling way. — Sandy & Denny Brownlee, Re-Maginations

I'm slammed… can't write anything right now… but I love you guys and everything you do! — Steven Feldman, Sam Hill Group

The creativity that emanates from Collide is like no other company we've ever worked with… we love collaborating with Collide. — Chuck Hargett, Hargett Agency