Summary

From 2012: Steve Poltz, the musical maestro with a penchant for storytelling, takes center stage in this delightful episode of Country Fried Rock. He dives into his wild journey that began in Australia back in '99, where a chance encounter during a tour with Jewel ignited his love for the land down under. With a lively spirit, he shares the inspiration behind his latest album, uniquely titled Noineen Noiny Noin, a name that sparked curiosity and a smirk or two. Listeners will relish his tales of musical evolution, from classical guitar roots to the whimsical world of fingerstyle rock, peppered with anecdotes about his family and the whimsical influences that shaped his artistry. Poltz reminds everyone that staying true to oneself and being fearless in creativity is the ultimate way to connect with an audience, while also serving up a hearty dose of humor and insight along the way.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Toss a few in our Tip Jar!

• Steve Poltz
• You may also like this conversation from 2012 with Shurman

Show Notes

In this vibrant and freewheeling episode, Steve Poltz takes us on a joyride through the stories, sounds, and serendipity behind his career and latest record, Noineen Noiny Noin. Tune in for a rich mix of heartfelt memories, sharp wit, and musical insight.

Highlights from the conversation:

• Steve’s unexpected love affair with Australia, sparked during a tour with Jewel back in 1999
• The hilarious origin of his album title Noineen Noiny Noin and how a casual promoter interaction turned into creative gold
• Early musical roots, including:
• Uncle Louie’s influence through Beatles and Monkees records
• First encounters with classical guitar and an eccentric fingerstyle teacher who helped shape his sound
• Poltz’s approach to songwriting:
• Why learning from the greats still matters
• How humor and honesty fuel his lyrical voice
• Turning everyday moments into lasting songs
• A thoughtful look at how the music industry has shifted, and how Poltz stays grounded while evolving
• His creative philosophy: embrace the winding path, stay open, and keep telling stories

Why You’ll Love This Episode:

Steve Poltz brings a mix of deep reflection and unpredictable humor, making this a must-listen for fans of authentic songwriting, behind-the-scenes stories, and the creative process at large.

Listen now and let Steve’s journey remind you: music is about more than just sound; it’s about connection, curiosity, and never losing your spark.

Chapters

• 00:00 - Introduction to Country Fried Rock
• 00:22 - The Journey to Australia
• 13:42 - Finding Your Voice as a Songwriter
• 15:32 - Creative Freedom in Music
• 23:25 - The Creative Process of Music Making
• 29:15 - The Challenges of Touring and Personal Growth in Music
• 37:01 - The Influence of Political Identity in Music

Takeaways

• Steve Poltz's journey to Australia began in 1999 while on tour with Jewel, sparking a lifelong connection.
• The unique title of Poltz's album, inspired by a promoter's quirky pronunciation, sets it apart in the music scene.
• Poltz emphasizes the importance of learning from musical greats, encouraging aspiring artists to study complex songs.
• He recalls how his classical guitar training shifted to folk influences, particularly from Bob Dylan and Neil Young.
• The unpredictability of live performances can lead to remarkable shows, as Poltz experienced in Ann Arbor, where he felt truly inspired.
• He believes in the necessity of honesty in songwriting, which resonates with audiences and fosters genuine connections.

Mentioned in this Episode

• Jewel
• Mercury Records
• T Bone Burnett
• Full Tones
• Steve Soto
• Twisted Hearts

Recommended If You Like

country fried rock, Steve Poltz, music inspiration, Australian music scene, fingerstyle guitar, songwriting process, live music performance, music collaboration, political music, folk rock, creative expression in music, learning guitar, classic rock influences, music industry insights, storytelling through music, contemporary folk artists, house concerts, music and politics, acoustic performance, musician interviews

Transcript

Speaker A

00:00:00.800 - 00:00:11.840

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Steve Poltz.

Speaker B

00:00:11.840 - 00:00:13.360

Welcome, welcome. Thank you.

Speaker A

00:00:13.440 - 00:00:22.000

Thank you for being with us. Well, mainly from the title, took me a minute to say it out loud to get it and then I went, oh, tell me how you ended up in Australia.

Speaker B

00:00:22.480 - 00:01:08.030

The way I ended up in Australia was back in 1999. I was on tour with Jewel and I was her opening act all over the world and also in her band playing guitar.

So I had double duties and the tour took us to Australia and that began my love affair with Australia. I've been there 12 times. So recently when I was over there, I ran into one of the promoters that I met a long time ago through Jewel.

And I said, when? What year was that? That I was there? And he said to me, well, Rick. And he was 90, 99. And I thought that was so cool, the way he said naughty, naughty.

Nein that I phonetically spelled it out. N o I N E E N n O I N Y N O I N. So no, no, no. I said, that's gonna be the name of my next record. And everybody said, you can't do that.

And I said, yes, I can't. And here it is.

Speaker A

00:01:08.190 - 00:01:14.350

I love it, especially because visually it's complicated, but once you say it, it isn't complicated.

Speaker B

00:01:14.590 - 00:01:21.790

Yeah. And it's the only noiny noin record out there. There's a few. Let it be. Like, if you look up certain titles, I wanted mine to be the only one.

Speaker A

00:01:22.110 - 00:01:23.630

That's actually a really good idea.

Speaker B

00:01:23.870 - 00:01:24.510

Thank you.

Speaker A

00:01:24.510 - 00:01:29.990

I had not thought about that. I know that with, like, band names, that's particularly helpful, but I hadn't thought about it in terms of album names.

Speaker B

00:01:30.380 - 00:01:30.700

Yeah.

Speaker A

00:01:31.260 - 00:01:38.460

I know that you play a particularly intricate finger style way, but how did you originally get into playing music way back?

Speaker B

00:01:38.620 - 00:03:00.130

Well, the way I got into playing music was I have an uncle who's a brilliant piano player, and it's Uncle Louie. And we're all from Canada originally. And Uncle Louie, that side of my family is all from Cape Breton, where there's a lot of music.

And so Uncle Louie came down and he was and still is, has always been a really cool uncle and has influenced me a lot. And so he would give me Beatles records and Monkees records, both Monkees and the Beatles, and he would take me to concerts.

He took me to see Jesus Christ Superstar at the Hollywood Bowl. We used to go to the Hollywood bowl and I got really into Jesus Christ Superstar, like both albums, Andrew Lloyd Webber and Tim Rice.

But the way I got into guitar was at a young age, I think I was like six. He took me to see Julian Bream, this classical guitarist from England, at the Hollywood Bowl.

And it was just a brilliant concert, like concerts I remember as a kid were Sarah Vaughn, Ella Fitzgerald and Carmen McCray and then Julian Bream. So I saw some pretty heady stuff for a young kid. And the Julian Bream one was the one that really affected me the most.

And I remember when I left there, I said, I want to learn to play a string instrument. And they said, well, okay, you want to learn banjo or guitar? And I said, I want to learn classical guitar.

So we had a guy come over to teach me and I'll never forget he had a glass eye and a wooden leg and he smelled like mothballs.

Speaker A

00:03:00.770 - 00:03:01.170

Great.

Speaker B

00:03:01.410 - 00:03:47.460

I wanted to rock. But he brought over the Mel Bay guitar method book. And it was so boring. I remember as a kid going, this is it.

It's sort of when you hit that reality that you're just not going to pick up guitar right away and start rocking that. It takes work.

So I wanted to quit, but I owe it to my parents for saying, if we pay for these lessons, you have to promise you're going to practice an hour a day. They made me stick with that promise. At first it's hard. It's kind of like breaking a horse, a wild horse and teaching them how to be.

But then it was like a funny thing happened on the way to wherever I was going. I got what happened was after about a few months, it just became a habit to practice play guitar. And it became my time with just me.

And I got really into it. So that's how I started playing that style, finger style.

Speaker A

00:03:47.460 - 00:03:51.440

Then wasn't a huge change just bringing some rock and roll into it, right?

Speaker B

00:03:51.600 - 00:05:42.741

Yeah, it was more of a change when I. When I left from playing classical guitar, which I did for years, to kind of playing like James Taylor style stuff and listening to.

I remember the very first day I really heard Bob Dylan. I mean, like, I had heard him on the radio every once in a while.

But the day I really heard him was I have another uncle who had left some records and he had moved away and gone. I think he went to Vietnam or something and he left records. And one of the records was Bob Dylan, Blonde on Blonde.

And I remember being bored one day and I put that on and I recognized the sound on Just Like a Woman of a Classical Guitar, because it's definitely a nylon string or what we call a gut string guitar. And you can tell by the sound of it, it's just got a softer tone. I went, wow, that's a classical guitar. Yet he's playing folk pop music.

And it's that whole lick in between. She breaks just like a little girl Dun dun dun dun dun dun dun dun dun dun dun dun dun dun that's finger pick on a classical guitar.

And my ears recognized it. And then I got really into Bob Dylan and his idiosyncratic style of singing and the way he phrased words out.

And, like, when he sings a word, it becomes the word, you know, with the way he would stretch the word out. And he could say it with such vindictiveness or such sweetness, depending on the song. And I really took to that.

Almost like the way Sinatra sings as well. When Sinatra sings a word, he's almost like a Shakespearean actor in his phrasing.

Like, if you listen to Sinatra sing in the wee small hours of the morning, you're really transported, too. Here's this guy in the wee small hours of the morning, you know, lamenting and pining for this woman the way Sinatra did it.

I think he was really a gift. An American original, too, in his phrasing, just as Dylan is. Hi, this is Steve Pulse. You listen to country fried rock.

If you want to check out my music, go to pulse.com p o l.

Speaker A

00:05:42.925 - 00:05:51.000

Tz.Com pulse.com this has my brain going in so many different directions in terms of back to the Dylan thing. You're pretty young when that hit, though.

Speaker B

00:05:51.400 - 00:07:33.790

Yeah, but I was a really precocious little kid, and I was up and modest. I was. I was glued to the Smothers Brothers Comedy Hour.

And I was really trying to figure out what the adults were seeing in those jokes, because it was funny to me. Tommy's shenanigans and seeing his brother Dickie Smothers get angry with him.

And then my dad explained to me what a straight man was versus the comedic guy and how, like, as a duo, you need one straight man. Not to be confused with my Uncle Louie, who is a gay man. It's a whole different thing.

And so I really got into all that stuff and what was happening, and it was exciting to me. And why were we involved in Vietnam? And every day I would ask my parents, well, why? I still don't understand why we're killing people. Like, why?

So they got that mad. Can't they sit down at a table? I was constantly asking this question. So we're going to kill people, right? Wait, so I was like obsessed with this.

I get the globe, I'd say. So right now we are killing people here, right? Yeah. Steve, can we change the submit? No, we're shooting people like kids and stuff.

They're getting killed over what? Well, there's this thing called communism. And it really was.

I grew up with that awareness because I was, you know, in 1966, I was a six year old little kid. Like my earliest memory is my mom crying at Kennedy's funeral on tv. I remember that. And I was wondering why she was crying.

And then I remember Martin Luther King being assassinated. I remember Bobby Kennedy being assassinated.

And there was this whole period of tumultuous and it seemed like every day some rock star was Odin, Jimi Hendrix, Janis Joplin. And so I remember I had pictures of the Beatles on my wall and I was obsessed with Richard Nixon. Why did he not like John Lennon?

You know, why can't people just get along? And so all of that really played into music. And music to me back then was scary. You know, it scared me that I was drawn to it.

Speaker A

00:07:33.950 - 00:07:37.550

So a lot of those questions then still remain in our current lives as well.

Speaker B

00:07:38.120 - 00:08:47.179

They still remain today. Yeah, it's ever elusive. There's an answer. You know, you can take it all the way to the riddle of the Middle East.

How, how is that ever going to be solved?

You know, and it goes back to tribal thinking and kind of United States trying to force democracies on people that aren't ready or supporting dictators in countries that we have no business being in because it's economically beneficial to us to support them. And then wondering why, when they turn against us, why are they turning against us?

Well, you know, because it was ripe for somebody like Fidel Castro to come in back in the years with Che Guevara. Just if you just look at the whole thing historically.

Like I've always, when I went to college, I studied political science and I was, I even brought my professors home for Thanksgiving from the college I went to. And I'm talking like conservative and liberal professors. I hung out with both.

One of my teachers was a total Nixon apologist and we read pro Nixon books. And I loved that guy.

Like his arguments were very cogent and valid and the way that he phrased his arguments to why Nixon was a brilliant politician, which in many ways he was. Ping pong diplomacy. However, his own paranoia got the best of them. But I think all that plays into music.

Speaker A

00:08:47.659 - 00:08:51.739

So at what point did those Thoughts and or feelings end up coming through in your music.

Speaker B

00:08:52.139 - 00:09:13.980

Well, that took a long time. I didn't write songs till I got older. I always tried to write songs. But what I did do was learn a lot of songs.

And that's what I tell a lot of people today. Like younger players. Learn all the songs you can and learn really complex songs.

Like, a couple years ago, I learned the Marvin Hamlisch, Marilyn and Alan Bergman song that they co wrote together called the Way We Were that Streisand had a hit with.

Speaker A

00:09:13.980 - 00:09:14.580

Oh, yeah? Yeah.

Speaker B

00:09:14.580 - 00:09:48.770

It's a beautiful song. And if you really look at it lyrically and melodically, it's crazy. The chord changes or I learn.

I tell the guitarist, learn a Jimmy Webb song like by the Time I Get to Phoenix. Because they're deceptively. They're very deceptive. You think, oh, that's not gonna be that hard. But the chords that Jimmy Webb uses are brilliant.

And make. Make those guys your gurus and your teachers. And if you study those songs, it's gonna manifest itself in some way in your writing.

Because we're all sponges. And you're gonna pick up something out of it. Listen to that and listen to the Sex Pistols. Listen to Nevermind the Bollocks.

I mean, the production on that album's crazy.

Speaker A

00:09:48.770 - 00:09:49.290

Yeah.

Speaker B

00:09:49.450 - 00:10:15.640

It's insane how good that record is. You know, I love listening to some really hardcore punk rock and then listen to some beautiful, you know, Barbra Streisand.

And I think they're all valid and they're gonna come out in different ways. I didn't start writing till I was older, but I learned a lot of songs, like from Loud and Wainwright singing Dead Skunk in the Middle of the Road.

I always loved those humorous songs to Pete Seeger, you know, waist Deep in the Big. A political song about questioning authority.

Speaker A

00:10:16.040 - 00:10:25.080

That's interesting because the methodology then is really similar to that of how famous artists originally learned. You study the masters, you imitate the masters, then you move on.

Speaker B

00:10:25.640 - 00:12:28.150

Yeah, I'm a true believer in that. And for classical guitar, I listened to, you know, I had my favorites. There was a female player, Leona Boyd.

She was fantastic and also beautiful to look at. She was like my first crush. I was like, wow, this girl's hot. And I was a kid, and she plays classical guitar. And then, of course, Segovia.

I never liked Christopher Parkening that much. There was something about. I even had a sense of weird style back then. I didn't like his turtlenecks he wore. Offensive to my sense of Style.

I thought he was too hoity toity. And I...

Summary

From 2012: Peter Holsapple of the legendary band the dB's drops in to chat with the crew at Country Fried Rock, and boy, do they dive deep into the well of musical nostalgia. Right off the bat, he spills the beans about their fresh record, which marks a reunion of the original lineup after decades of creative evolution. It’s a heartwarming trip down memory lane as he shares how growing up in Winston Salem, North Carolina, shaped their sound and their enduring friendships. They get candid about the rollercoaster ride of life’s ups and downs, marriages, hurricanes, and everything in between, that feed into their songwriting. With a mix of wit and warmth, Holsapple reflects on the essence of their music, emphasizing that every record they've crafted has been a reflection of their journeys, proving that while time may change people, true creativity knows how to adapt and thrive.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Toss a few in our Tip Jar!

• Peter Holsapple's occasional blog
• Peter Holsapple on Bandcamp
• the dB's
• You may also enjoy this conversation from 2015 with RayLand Baxter

Show Notes

In this episode of Country Fried Rock, we dive deep into the creative cosmos with Peter Holsapple, musician, songwriter, and member of the legendary jangle-pop band, the dB's. It’s a soulful, funny, and reflective journey through decades of music, friendship, and life lived out loud.

Here’s what you’ll hear in this episode:

• A nostalgic return to Winston-Salem, North Carolina, where Peter and the dB’s story began
• How early friendships turned into lifelong musical partnerships
• The organic formation of the dB's and their rise in the alternative music scene
• Life chapters woven into the band’s evolution: marriage, fatherhood, natural disasters, and personal reinvention
• A behind-the-scenes look at the making of the dB’s latest album, featuring the original lineup for the first time in decades
• The creative process: how each member’s journey shaped the sound and feel of their newest record
• A deep dive into the emotional weight behind “She Won’t Drive in the Rain Anymore” and how Hurricane Katrina influenced their writing
• Thoughts on balancing fan-favorite classics with new material in their live sets
• Road stories from tours past, complete with weird detours and unforgettable moments
• Reflections on the music industry’s shift, from vinyl to social media, and how connection with fans has changed
• Peter’s take on what makes music timeless and why making good music still matters most

Why you should listen:

This episode isn’t just about a band; it’s about creative endurance, emotional honesty, and the beauty of growing alongside your art. Whether you’re a longtime dB’s fan or just discovering their sound, Peter Holsapple’s stories offer something real, raw, and resonant.

Listen now and join the ride, from the backroads of North Carolina to the frontlines of indie music history.

Chapters

• 00:09 - Introduction to Peter Holsapple
• 05:56 - The DB's Journey: From Formation to Reunion
• 10:20 - The Evolution of Music and Its Business
• 19:46 - The Importance of Vinyl and Live Music
• 26:30 - The Journey of Touring: Stories from the Road

Takeaways

• The podcast dives deep into the creative journey of Peter Holsapple, emphasizing how life experiences shape artistic expression over time, especially through challenges like hurricanes and personal loss.
• Listeners gain insight into the evolution of the DB's music, revealing how past experiences and collaborations influence their new sound, making it fresh yet familiar for fans old and new.
• Holsapple reflects on the significance of community and connections in the music industry, noting how social media can bridge gaps between artists and fans, despite the complexities of modern music business.
• The episode highlights the importance of live performances in sustaining a band's relevance today, with Holsapple humorously lamenting the logistical challenges of touring as a 'grown-up' musician with responsibilities.
• Throughout the episode, the candid dialogue showcases the balance between nostalgia for past hits and the desire to push creative boundaries, reflecting on how older songs can be reinterpreted for contemporary audiences.
• Finally, Holsapple's light-hearted anecdotes about their band dynamics and past touring experiences add a relatable touch, making the conversation both engaging and deeply reflective.

Mentioned in this Episode

• the dB's
• R.E.M .
• Continental Drifters
• Hootie and the Blowfish
• Sugarland
• Atlantic
• New Orleans Musicians Relief Fund
• Bar None Records

Recommended If You Like

Country Fried Rock, Peter Holsapple, the dB's band, the dBs, dBs, North Carolina music scene, creative inspiration musicians, new music releases, indie music interviews, music industry challenges, songwriting process, vinyl records, music nostalgia, dB's latest album, music collaboration, live music performances, influences on songwriting, New Orleans music, Hurricane Katrina impact, music and personal experiences, music fan culture, retro vs. modern music.

Transcript

Speaker A

00:00:00.800 - 00:00:18.240

Welcome to Country Fried Rock where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered.

My guest today on Country Fried Rock is Peter Holzappel of many different bands over the years, including the Deebees with a brand new record with their original lineup out on air. Thanks so much for being with us.

Speaker B

00:00:18.240 - 00:00:19.200

You're very welcome.

Speaker A

00:00:19.360 - 00:00:26.720

So I know a little bit about the Deebees only because I was one of the fans back in the day. But you all originally got together at a very young age.

Speaker B

00:00:27.440 - 00:00:46.640

Well, we all grew up together in Winston Salem, North Carolina. So we've known each other since we were like eight or nine.

You know, we had a very, very active band scene down there, so we, we all played together in various groups. And then eventually after Chris moved to New York to play with Alex Chilton in 1977 or 78, I believe the rest of us kind of followed suit.

Speaker A

00:00:46.880 - 00:00:55.520

Over the years, as you all have formed and reformed as the dbs, what has led to where you are moving forward creatively?

Speaker B

00:00:56.330 - 00:01:16.170

Time passes and people change so naturally. Hopefully if one starts as a creative person, one will continue on and change as life changes.

The different influences of marriages, divorces, hurricanes, children, abuse problems, things like that. They all contribute, certainly. You know, every record I've ever listened to has changed me.

Speaker A

00:01:16.410 - 00:01:24.890

Let's back up chronologically a little bit. As you all were first coming together in the original foursome, what led to you all deciding to form the DB's?

Speaker B

00:01:24.890 - 00:02:04.280

Specifically, Chris really wanted to start a band. So Chris got in touch with Will and then Gene, who was living in Philadelphia at the time.

Will, I believe, was still in Chapel Hill and said, you should come up and play. And so they started a band up there.

And then about four months later, three months later, I had been living in Memphis and doing a little bit of recording there and they said, why don't you come up? We need a keyboard player. Do you want to audition? So I auditioned and I'm still assuming that I passed the audition.

And we kept the group going after Chris left and then Gene left and then we pulled the plug on it eventually, about 1988. But we had a good 10 year run with the band for sure.

Speaker A

00:02:04.440 - 00:02:06.600

Where did you go with your music after that?

Speaker B

00:02:06.680 - 00:02:55.300

Well, the first thing, I got contacted by REM to go out and work as their extra hand out there playing guitar and bass and keyboards and accordion. So I did that for about a year and a half and then living in Los Angeles and got together with some friends out there with a band.

Called the Continental Drifters. And then we moved that band Lock, Stock and Barrel down to New Orleans and it went through 2002, I believe.

And meanwhile, I was also playing with Hootie and the Blowfish. I got a call from their A and R person at Atlantic and said, would you be interested? So that's sort of where I went.

And then eventually, you know, we did a couple of DB shows and Chris and I had done a couple of duet records, right. There were some songs that seemed like they would really be very well served if they had Will and Jean playing on them.

So we asked them and they said, sure.

Speaker A

00:02:55.380 - 00:02:57.720

You were in New Orleans during the hurric, weren't you?

Speaker B

00:02:57.720 - 00:03:01.320

I lived there and my family was there. I was on the road with Hooting the Blowfish.

Speaker A

00:03:01.320 - 00:03:05.560

Okay, how did that end up coming through with what you were writing on.

Speaker B

00:03:05.560 - 00:04:48.440

This record in particular, there's a song called she Won't Drive in the Rain Anymore. And that's a co write with a man named Christian Bush who's got a band called Sugar Land.

He encouraged me to kind of get that stuff out of my system and I told him I had some pieces of it. So we got it sort of in a form to get started and I flushed it out.

And I mean, there are a couple of songs that I've written that are sort of Katrina centric, I guess you would say. You know, the biggest thing about that really wasn't losing stuff. I lost a lot of stuff. We lost everything in our house, our car computers.

I lost a hard drive full of songs I'd been working on all summer. But the thing that put it really into perspective was the fact that my former brother in law, Barry Cowsel, died in the flood. And I'm not. We don't.

You know, the. The specifics of his death are not terribly clear.

But he, you know, when you lose an actual person that you have a friendship with and that exists, you know, I mean, I can buy other stuff, but I can't buy another Barry. So that put everything in perspective and I had to be sort of circumspect about the whole thing.

But there's another song on that duet record that Chris and I did called Here and Now. The song is called Begin Again and Branford Marcellus played sax on it.

That was a lot about kind of visualizing New Orleans after the flood and, you know, the diaspora of the people and how the infrastructure had changed so greatly. So, yeah, so there's, it's, it's. It's popped up in a Few songs. Hi, this is Peter Holzappel from the dbs, and you're listening to Country Fried Rock.

Speaker A

00:04:48.680 - 00:04:54.040

How do you know when it's something that's going to be a duo for you all or something that would be a Deebees song?

Speaker B

00:04:54.490 - 00:05:45.590

Hard to say. I mean, all through the DB's, I'm sure Chris and I both.

At least I know I was writing that just didn't really strike me as having DB's qualifications. I mean, for me, a DB song should be kind of punchy. Even if it's a ballad, it should have.

It needs something that the bass and drums are going to be able to put their thumbprints on. It's great to have dual vocals, you know, but that's going to be the same thing with me and Chris. I think we tend to err on the side of slightly.

Not that you would call the DB's heavy by any stretch of the imagination, but the. The approach that we take is slightly heavier acoustic stuff that we do. And maybe that's just because of electric guitars pounding drums and stuff.

But I guess early, you know, it's one of those things where, you know, it is and you don't know if it isn't. And it's really hard to. It's like. It's like why I don't teach guitar. I don't. I don't know why I can play what I play. I just can.

But I couldn't explain it to a neophyte.

Speaker A

00:05:45.590 - 00:05:56.140

So, as you all have had comings and goings and kind of moving apart and coming back together in different forms over the years, what was the timeline on this most recent record of all new songs?

Speaker B

00:05:56.460 - 00:06:11.340

Well, last time the four of us got together was about 1987 or 88 at a benefit for the homeless in Charlotte, North Carolina. And as per usual, in that sort of parallel world of the DBs, where everything that can go wrong. Well, we got middle of the encore.

Speaker A

00:06:11.580 - 00:06:12.460

Oh, my goodness.

Speaker B

00:06:12.700 - 00:08:43.730

And there's actual footage of that on YouTube, of course, for those who enjoy the schadenfreude of it all. But suddenly there were a couple of songs that just sort of stuck out as Wouldn't this be a good idea?

So then we also got a call from some folks in Chicago about a couple of gigs up there with the original band. And we just sort of ran it by Will and Gene. And, you know, Will was playing.

Will's been playing with Steve Earle for many years, and Gene, up until recently, has had a mastering lab in Hoboken. So it was a question of just trying to make sure that he was available for it.

We got together and it was a little bit like getting back on the bicycle. You know, everybody sort of knew what to do and we did it. And so that was very handy. So we did that. And then there was some talk.

We're just trying to figure out thing else or if we just wanted to do some singles and, you know, if there was a. If there was even a need or desire for it among people. So we all felt good about it. And then seven years later, we got the record finished.

But we did. One of the.

One of the more pressing things that we did was we did a cover of what Becomes of the Brokenhearted for a charity that was established for musicians in New Orleans by DB's bassist, Jeff Benonado, who joined the band about five years after Chris had left. Just a fine, fine person and as good a friend as you could hope to have and a really dedicated bass player.

And he and his wife, Karen Dalton Bananato, started this thing called the New Orleans Musicians Relief Fund. So we wanted to ante up on that, so we did our version of that. It turned out really good.

And so once again, as befits the story of the dbs, a lot of it was sort of birthed out of recording and feeling like, well, this is good. We've got some stuff that's gonna sound good.

We had to do a lot of thought and a lot of scratching of heads and pulling of hair to figure out what the record was supposed to sound like. Because, you know, Chris was around for the first two records and then he wasn't for the last two.

And then we had all these lives and bands and families and divorces and what have you in between the time. And we just were trying to make something that really made sense, I think. So I think we ended up doing that.

We winnowed down the 30 songs that we recorded and turned something that seems contiguous and it seems effortless. And it does that thing where it makes it sound like we went in and played it.

And it doesn't show all the, you know, false starts and the bum notes and the vocals that we had to repair and things like that. So I think we pulled that off. I think the record really sounds like it belongs in this world as a DB's record.

Speaker A

00:08:43.970 - 00:08:51.210

For me, when I put it in, as a fan, I hear a DB's record, but I hear a new DB's record. I don't hear retro in any way.

Speaker B

00:08:51.370 - 00:09:07.850

Good, then we have accomplished what we were Trying to do.

I got a wonderful compliment from my 18 year old daughter the evening of her graduation from high school a couple of weeks ago and we put on the record and she said gee dad, for a bunch of old geezers you rock pretty hard. So I take that as the highest form of compliment right there.

Speaker A

00:09:07.930 - 00:09:16.010

Absolutely. Well, you mentioned that there's all these other songs that didn't make the record and you briefly said something about eps.

Is there any talk of life for some of these other songs?

Speaker B

00:09:16.090 - 00:10:20.850

Oh, possibly, you never can tell. I mean we've put a couple of things on. We did a video for a song called Revolution of the Mind.

We did that a couple months ago with the Occupy Wall street people. And then for Record Store day last year we did a 45 of the B side is right back which is on the album that Will wrote.

And the A side is a song called Picture Sleeve. Sort of one of the rare co writes between Peter and Chris but.

And then you know, like I said, there's a ton more songs in there but I just don't know, you know, I mean my initial thought is well we pulled the good ones and the rest of them were okay, but they're not gonna, you know, blow anybody's dress up particularly. But then again, you know, who knows, I mean maybe it just takes the right mix.

So it's hard to say what, you know, I mean they're, they're there, they're in a sort of a, you know, relatively ready to go state. So that's good. You know, time will tell. If this record gets roundly ignored then there probably isn't a big reason to do that.

Now if this record goes through the roof then of course they're going to want to, you know, we'll be selling those DB's, licensed body bags and latrine shovels and things like that with our name on it. And of course we'll need other stuff so that may work out.

Speaker A

00:10:20.930 - 00:10:25.320

The business structure of music is certainly not the same as it even five years ago.

Speaker...

Summary

From 2012: Ray Wiley Hubbard drops by Country Fried Rock to share some seriously insightful gems about his creative process and the evolution of his latest album, Grifter's Hymnal. He reveals how this record takes a refreshing dive into personal storytelling, flipping the usual songwriter's script by starting from a deeply personal place instead of widening the narrative as most do. As they riff about everything from his early days in the vibrant Dallas folk scene to the unique grooves he incorporates into his music, it’s clear that Ray’s got a knack for blending grit and groove, making the familiar feel fresh and alive. The conversation flows like a good jam session, touching on the importance of authenticity in songwriting, the thrill of performing, and how the right vibes in the studio can turn a collection of songs into something truly special. With Ray’s effortless charm and seasoned perspective, this episode is a must-listen for anyone looking to tap into the heart of musical creativity.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Toss a few in our Tip Jar!

• Ray Wylie Hubbard
• You may also enjoy this conversation from 2012 with Dawes

Show Notes

Join us on a deep dive into the soulful, gritty world of legendary songwriter Ray Wylie Hubbard, as he opens up in a candid, story-filled episode of Country Fried Rock. This conversation is a rich blend of music history, personal reflection, and unfiltered authenticity from one of Americana’s true originals.

In this episode, Ray Wylie Hubbard talks about:

• The making of Grifter’s Hymnal
• How this album marks a turn toward more personal songwriting, bucking the trend of writers moving away from their own stories.
• From Virginia City to Austin
• Reflections on how the contrast between snowy landscapes and Texas heat shaped his sound and perspective.
• Sneaking into Dallas folk clubs
• Stories from his youth, getting an early taste of blues greats like Lightnin’ Hopkins and Freddie King.
• Musical camaraderie and collaboration
• How friendships with icons like Jerry Jeff Walker and Michael Murphy helped ignite his songwriting journey.
• The folk and blues scenes of the past
• A vibrant look at the inclusive, genre-blending communities that helped raise his creative voice.
• What makes a groove work
• Why a solid groove is the foundation of his music, and how it guides the songwriting process.
• Staying authentic in a changing industry
• Thoughts on maintaining honesty and storytelling integrity over decades in music.
• Connecting with a new generation
• His take on how younger audiences find his music through streaming, and why legacy matters.

Why you’ll want to listen:

This episode is part memoir, part masterclass, and fully immersive. Hubbard doesn’t just recount his past, he brings it to life with humor, humility, and the unmistakable rhythm of a songwriter who’s still got stories to tell.

For fans of:

Americana, roots music, storytelling, Texas songwriters, and anyone chasing the groove.

Listen now wherever you get your podcasts.

Chapters

• 00:09 - Introduction to Ray Wiley Hubbard
• 01:41 - The Evolution of a Musician
• 10:04 - The Transition to Production: A New Chapter in Music
• 16:20 - Evolution of Musical Style
• 23:24 - The Journey of Creativity
• 27:40 - Beginning the Journey: A Story of Music and Memories

Takeaways

• Ray Wiley Hubbard shared how his personal experiences deeply influence his songwriting, flipping the usual narrative on its head.
• The conversation revealed the unique blend of folk roots and blues that shape Hubbard's musical identity, showcasing a rich tapestry of influences.
• Hubbard emphasized the importance of authenticity in music production, seeking to capture the genuine sound and feel of live performances.
• The podcast highlighted the evolving audience for Hubbard's music, with younger fans discovering his work through modern platforms and connections.
• A fascinating discussion arose around the collaborative nature of songwriting, where friendships often lead to unexpected creative partnerships and projects.
• Hubbard's reflections on his journey through music and life underscore a broader narrative about resilience and the passion that fuels artistic expression.

Mentioned in this Episode

• Country Fried Rock
• Ray Wiley Hubbard
• Michael Murphey
• Jerry Jeff Walker
• B.W. Stevenson
• Hayes Carll
• Stevie Ray Vaughan
• Fabulous Thunderbirds
• Band of Heathens
• Joe Walsh
• 13th Floor Elevators
• Ringo Starr
• Alan Wolf
• Lightning Hopkins
• Freddie King
• Mance Lipscomb
• Nance Lipscomb
• Mother Blues
• Rubaiyat
• Grifters Hymnal
• George Reiff
• Rick Richards
• Deadbeat
• Southern Rock
• Cowboys
• Loco Gringos
• Small Faces
• Fleetwood Mac

Recommended If You Like

country fried rock, Ray Wiley Hubbard, Americana music, songwriting process, folk music influences, Grifters Hymnal album, live music performance, producing music, Texas country music, blues music history, music inspiration, touring musicians, fingerpicking guitar technique, storytelling in songs, music collaboration, Austin music scene, songwriting tips, folk rock artists, music production techniques, songwriting evolution

Transcript

Speaker A

00:00:00.800 - 00:00:13.040

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried rock music uncovered. My guest today on Country Fried Rock is Ray Wiley Hubbard. Welcome, Ray.

Speaker B

00:00:13.040 - 00:00:14.360

I'm glad to be here. Thanks.

Speaker A

00:00:14.360 - 00:00:15.760

Thank you so much for being with us.

Speaker B

00:00:15.840 - 00:00:17.360

More than welcome. Looking forward to it.

Speaker A

00:00:17.920 - 00:00:22.240

Appreciate you. Especially given that you've been driving through some fun early summertime snow.

Speaker B

00:00:22.320 - 00:00:39.180

Yeah, we're up here in Virginia City and it's starting to snow. How weird is that? It's June. We started off the tour in Seattle and in Portland and Eugene and so we're working our way down. Oh, let's see.

Santa Cruz and San Francisco and I think the Palms and Winter. So nice. Yeah, it's been. It's been a good tour.

Speaker A

00:00:39.260 - 00:00:50.380

Nice. Well, I've been excited in listening to Grifters Hymnal for quite a while.

And I have to say, when I first got it, I listened to it and I went, this is a lot more personal than most of the stuff that I've heard so far from Ray.

Speaker B

00:00:50.700 - 00:01:01.580

Well, yeah, it. For. Somehow it just kind of turned out that way. I just kind of. These songs kind of just kind of seem to happen that way.

And I just revealed a little bit more about myself and I probably should have.

Speaker A

00:01:03.290 - 00:01:18.330

The reason it stuck out to me was in that for the most part, it kind of goes against what happens for most songwriters.

Usually it starts personal and then eventually they run out of stuff to say about themselves, so then it goes to their wider circle of friends and then a character. But this is sort of going in the reverse.

Speaker B

00:01:18.810 - 00:01:40.940

Well, yeah, I would have to say. So it just kind of.

I kind of write kind of what I'm familiar with, which is, you know, a corsetin bottle for abusing as a slide and talk about guitars and amps. Lightning Hopkins and Freddie King and, you know.

So I just kind of write about, you know, this record seem to be just kind of about what I seem comfortable with, I suppose.

Speaker A

00:01:41.260 - 00:01:44.220

How did you get into music before you became a professional?

Speaker B

00:01:44.460 - 00:02:30.760

Well, I started off in high school in Oak Cliff here. I was based near Dallas and I went to high school with Michael Murphy, who was now Michael Martin Murphy.

He's kind of a cowboy poet, but he originally was in folk music and he was one of the first influences I had. And so I've been involved in folk music back in high school. And there was a little there in Dallas called the Rubaiyat, which was a folk music club.

And I'd go see. Oh, God, you know, that's where I'd go see Nance Lipscomb play.

And then there was another club there called Mother Blues where Lydon Hopkins played, and you go see Freddie King and then all these, you know, wonderful musicians. So I kind of got. That was kind of the beginning as I started off in the Folk Sing.

And, you know, of course, you discover Dylan and those doors open up to Woody Guthrie and Jimmie Rogers and Lead Belly and all that. So that kind of was the beginning for me.

Speaker A

00:02:31.160 - 00:02:32.840

Said the Mother Blues place was a real place.

Speaker B

00:02:33.080 - 00:03:06.660

It was a real club there. And my wife Judy was the door girl there.

We didn't know each other back in those days because I always came in the backstage door and she was 16, checking IDs at the front. It was just a really funky little kind of blues club.

And everybody from Jimmy Buffett to Arsenal Lightning to all these kind of rock bands would come through and play. And it was just kind of a really good scene. You had the Rubaiyat, which was a folk scene.

Then they had the Mother Blues, which kind of the rock blues scene. So I was just kind of a. I would sneak in both of them.

Speaker A

00:03:07.540 - 00:03:11.780

Was the blues scene more inclusive then of people of all different backgrounds?

Speaker B

00:03:12.020 - 00:03:53.100

Later on, of course, you know, there was the blues scene in Austin with the Fabulous Thunderbirds and Steve Ray and Jimmy Vaughn and Paula and the Cobras, and there was that scene there. But then kind of growing up in the 60s, it really wasn't that separate because all the blues guys would play in folk club now.

It was kind of the folk revival. So I really didn't really see a difference, you know, like, that these guys were like blues singers playing in a folklore which is like.

Well, these guys were just musicians and they were playing.

So, yeah, it was, you know, like I say, I feel very fortunate to have seen Mance and Lightning and Freddie King and Ernest and Gary Stewart, some of these great performers. You know, I feel very fortunate seeing those guys.

Speaker A

00:03:53.420 - 00:03:59.340

Like that song in particular, I guess it's a lot more straightforward storytelling, legitimate than.

Speaker B

00:03:59.950 - 00:04:05.870

Oh, yeah, it's pretty much all probably 90% true. I did change one of the names.

Speaker A

00:04:05.950 - 00:04:06.350

Sure.

Speaker B

00:04:06.430 - 00:04:34.990

You know, of course, there were no innocent people, right. So I didn't change the name to protect the innocent. They were all guilty. But I did change a couple of names and just hedged on it a little bit.

It's pretty much based on truth. Like I say, my wife Judy was a door girl there, and I would hang out there.

And at that time, after the clubs would close, after hours, everybody would kind of sit around and Jam and play poker and all that stuff. So it was pretty close to the truth. Hey, everybody, this is Ray Wiley Hubbard on Country Fried Rock.

Speaker A

00:04:35.390 - 00:04:37.550

At what point did you begin writing your own music?

Speaker B

00:04:38.030 - 00:05:27.120

It was about that time right after high school. I was in a little folk group and we moved up to Red River, New Mexico, and I started writing songs back then, and it was just.

It was a real good scene because at that time, there was the Kerrville Folk Festival, and I had an opportunity to meet, you know, guys like Jerry Jeff Walker and Michael Murphy and B.W. stevenson and some. And a lot of these. You know, the great thing about that, these guys were writing really great songs.

It was just at that point I started writing. So it was probably. I wasn't that good at it, but I started it.

And so, yeah, but it was, you know, like I said, you would see there, especially growing up in Austin, you would see Town Van Zant was playing these little small clubs there, and he kind of. He kind of set the bar, kind of set the plateau. Like, if you're going to be a songwriter, this is. You had. This is what you tried to aspire to.

Speaker A

00:05:27.520 - 00:05:41.200

So then as that developed for you, the songs that you were writing for yourself, as you were still mostly enmeshed in the folk scene, how you ended up also having songs recorded by others, you know, was that intentional or was it that you became buddies with people that.

Speaker B

00:05:41.520 - 00:06:05.580

To do with. With buddies. I didn't really, you know, have a Nashville publishing thing where I had people pitching my songs.

You know, Jerry Jeff heard Redneck Mother and decided to record it, you know, and then, of course, Bobby Baird did it, and the new writers of the Purple Sage. And so it was just kind of mostly friends.

You know, most any songs I've had recorded by other people, there have been people that I've known, you know, like when Ragweed did want to rock and roll.

Speaker A

00:06:05.740 - 00:06:06.140

Right.

Speaker B

00:06:06.700 - 00:06:21.900

Well, like, with music right now, most of the music that I really like are the songs and the musicians that are friends of mine, you know, that I know, you know, that I run around with Hayes, Carl Slade, please, McMurtry and Girthmorn. Those guys. Those, you know, they're my friends, and that's the music I like.

Speaker A

00:06:22.330 - 00:06:23.770

When did you head back to Texas?

Speaker B

00:06:24.170 - 00:06:46.490

Oh, gosh.

Well, I always kind of had a couch to stay on in Austin, you know, and with few friends there, and so that was just kind of between New Mexico and Austin, moved back to Oak Cliff and Austin in that area probably back in the 70s. But I was just. I was still pretty much a working musician and traveling and playing, you know, kind of a transient musician.

Speaker A

00:06:46.490 - 00:07:00.950

I suppose as that time evolved for you and you headed back and had your own couch to crash on in Texas, you started getting involved with some other different ways of being in music. And how did that develop?

Speaker B

00:07:01.670 - 00:08:25.370

Just really briefly, you know, like I say, I really. I became serious about my songwriting when I was 41. I cleaned up my act and started wanting to be a real songwriter.

So I actually took guitar lessons to learn how to finger pick. And it's at 41. Yeah.

And so then I started kind of writing more the little more, oh, what they call now, I guess, Americana or alt country or, you know, those types of songs.

And I'd always been a folk singer, but then when Willie and Jerry, Jeff and all those guys, you know, there was a big Austin outlaw explosion, kind of guilt by association. I kind of got wrote Redneck Mother and Jerry recorded, kind of guilt by association. Kind of thrown into that outlaw country.

But still in my heart, I was still. I thought of myself as a folk singer. And so then later on in my 40s, I really wanted to learn how to, you know, finger prick and get into that.

So I took lessons and started writing, took it into a different direction. And then through that, I met people like Gerf Morlux and Lloyd Mains, and they really were instrumental in learning how to produce.

And so then at that opportunity, then had a chance to work with the band of Heathens on their first record. They asked me to produce the record because they pretty much liked the grit and the groove that the records I'd had up to then.

And so it was just, like, I say it was more of a friendship thing, you know, because I've seen the band of Heathens play and love, and we were just hanging out and they said, we want you to produce a record. Okay, let's do it. So we went in there and it was, you know, getting tone right and the groove, and it was really fun. And then.

And I just, you know, kind of fell into it.

Speaker A

00:08:25.370 - 00:08:42.170

I talked with Gordy about that earlier this year, and he was saying, you know, they had put out those two live records first, and so they were kind of like, yeah, we're just going to be a live band. I don't know if we can pull it off in the studio. Having a friend be the one to be like, yeah, let's do this. Let's.

Let's get that groove really made it easier for them.

Speaker B

00:08:42.810 - 00:09:02.310

Going in the studio is a different animal than life. So we Went in there and I feel very fortunate. We just, you know, they're such. They had the songs and they had the vocal ability, had the chops.

Then it was just make sure that we got the right M mics and the right sound and the right guitars and the right tone and all that. So, yeah, I was very, very, very proud of that record and those guys.

Speaker A

00:09:02.390 - 00:09:17.830

Just using that one as an example and. But when you're looking at bringing a band, especially one with a great live, They've just got it together live and they started that way.

That's their thing. How do you get into the studio and still help bring the feeling of who they are?

Speaker B

00:09:18.070 - 00:10:04.710

Well, I told them, I said, when we go in, we're going to cut this record. When we mix...

Summary

From 2012: Bridget Kearney from Lake Street Dive kicks things off with a deep dive into the roots of her musical journey, revealing that her love for the upright bass began way back in fourth grade, and man, did she hit the ground running! The crew chats about how their eclectic influences and early jam sessions morphed into a unique sound that blends pop, jazz, and a sprinkle of funk, with plenty of witty banter about their less-than-stellar beginnings. They dish on their songwriting process, a mix of personal experimentation and collaborative magic, with each member bringing their own flavor to the table, all while enjoying the ride together. As they gear up for their next album, the excitement is palpable, with plans to capture the energy of their live shows and bring a fresh vibe to their music, promising a blend of whimsy and a touch more maturity in their lyrics. Tune in and catch the good vibes as they share stories, laughs, and a sneak peek into what’s brewing for Lake Street Dive!

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Toss a few in our Tip Jar!

• Bridget Kearney
• Lake Street Dive
• You may also enjoy this conversation from 2015 with T. Hardy Morris

Show Notes

In this episode of Country Fried Rock, we sit down with Bridget Kearney, upright bassist of Lake Street Dive, for a heartfelt and candid conversation about music, creativity, and the band's evolution. Bridget opens the door to her musical journey and shares how the band found its unique groove.

What You’ll Hear in This Episode:

• Bridget’s musical roots:
• Her first experiences with music in a school orchestra
• The impact of growing up in a supportive, music-loving family
• How singing in church choirs nurtured her early love for songwriting
• 
  
• The formation of Lake Street Dive:
• A chance meeting at the New England Conservatory that sparked a band
• Navigating the early days, from basement rehearsals to local Boston gigs
• How their friendship became the glue that held them together through growing pains
• 
  
• Finding their sound:
• Melding jazz, pop, soul, and a touch of vintage flair
• Realizing the value of their eclectic influences and making it work
• Moments that marked a turning point in their identity as a band
• 
  
• Inside the creative process:
• How the band approaches collaborative songwriting
• The push-and-pull of differing ideas and how it strengthens their music
• Personal anecdotes that shape their lyrics and arrangements
• 
  
• Reflections on growth and connection:
• From small clubs to major stages: what’s changed, and what’s stayed the same
• Why their music continues to resonate with a broad and diverse audience
• The joy of creating music with people you trust and admire

Why You Should Listen:

This episode isn’t just about music; it’s about connection, persistence, and the beauty of creative collaboration. Whether you're an aspiring musician, a longtime fan, or just someone who loves a good story, Bridget’s insights and the journey of Lake Street Dive offer inspiration and a deeper appreciation for the art behind the sound.

Listen now and step inside the rhythm and soul of Lake Street Dive.

Chapters

• 00:09 - Introduction to Lake Street Dive
• 06:51 - Formation of Lake Street Dive
• 15:11 - The Evolution of Sound and Style
• 16:50 - The Evolution of Lake Street Dive's Sound
• 25:44 - The Next Recording Process

Takeaways

• The band Lake Street Dive originated from casual college jam sessions, evolving into a tight-knit group through friendship and shared experiences.
• Bridget, a member of Lake Street Dive, emphasizes the importance of early exposure to music for developing creativity and songwriting skills.
• Their musical journey reflects a transition from jazz roots to pop influences, showcasing adaptability in their sound and performance styles.
• The upcoming album aims for a more collaborative production process, highlighting the band's growth and desire for a cohesive creative direction.
• Rachel Price notes that the lyrics in their new material will lean towards more mature themes while still retaining a sense of whimsy and fun.
• Their live performances have become a crucial element of their identity, as they strive to create an engaging atmosphere that resonates with audiences.

Recommended If You Like

Country Fried Rock, Lake Street Dive interview, music creativity, songwriting process, musicianship inspiration, jazz band evolution, Boston music scene, pop music influences, live music performance, band dynamics, music education, indie music culture, songwriting collaboration, music production techniques, live concert recording, folk and pop fusion, contemporary jazz influences, band formation story, music career development, Lake Street Dive new album

Transcript

Speaker A

00:00:00.800 - 00:00:14.960

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guests today on Country Fried Rock are various members of the band Lake Street Dive.

Welcome to Country Fried Rock.

Speaker B

00:00:14.960 - 00:00:15.600

Thank you.

Speaker A

00:00:15.680 - 00:00:18.160

So we've got Bridget for the moment. Thanks for being with us.

Speaker B

00:00:18.160 - 00:00:19.360

Yeah, thanks for having us.

Speaker A

00:00:19.360 - 00:00:21.200

Have you always been an upright bass player?

Speaker B

00:00:21.200 - 00:00:31.390

Yes. I started on upright bass when I was in fourth grade and never really spoke. Switch to electric.

I've experimented with the electric, but I'm pretty awful at it.

Speaker A

00:00:32.350 - 00:00:33.710

So was that like, school band?

Speaker B

00:00:33.790 - 00:00:35.070

Yeah, school orchestra.

Speaker A

00:00:35.310 - 00:00:37.310

Did you get to choose it or was that assigned?

Speaker B

00:00:37.390 - 00:00:53.470

Well, no, I chose it. The school orchestra started a year before the school band, so originally I wanted to play the drums.

I was really excited about playing an instrument, so I wanted to get started as soon as possible. And orchestra was what there was in fourth grade, so I picked the bass.

Speaker A

00:00:53.620 - 00:00:56.020

Gotcha. So what kind of stuff were y' all playing?

Speaker B

00:00:56.420 - 00:01:02.020

Pachelbel's Canon. Let's see a Shokin Farewell as a.

Speaker A

00:01:02.020 - 00:01:04.660

Fourth grader, you know, like, Pachelbel's Canon spoke to you?

Speaker B

00:01:06.020 - 00:01:24.260

Yeah, I guess it did. I mean, I guess I was mostly just excited about learning an instrument.

And then as I got into, like, junior high and high school, started playing more different styles of music. I had a rock band called Metro Pilot, and I had in the school jazz band as well, and I had a band called Sax Attacked.

Speaker A

00:01:24.260 - 00:01:25.460

Were y' all writing your own music?

Speaker B

00:01:25.780 - 00:01:47.620

Yeah, I started writing music. I guess I started writing music on the piano when I was pretty young. Like, probably maybe even before I started playing the bass.

Then in junior high, with the rock band, I started writing, you know, pop songs, lyrics and everything. I've always felt lucky that I started doing that early because I got some of the really bad ones out of the way.

Speaker A

00:01:48.370 - 00:01:55.810

I'm just curious. I haven't had a lot of people who started writing that early. What was prompting you internally to write at that point?

Speaker B

00:01:56.210 - 00:02:13.810

I mean, I think I just was really into music. Like, the youngest songs that I wrote.

You know, I was just kind of, like, sitting at the piano and liked coming up with things that sounded good to me, which is, like, to this day, kind of the way that I approach songwriting is sitting down with an instrument and trying to come up with something that I would want to listen to myself.

Speaker C

00:02:13.890 - 00:02:14.050

And.

Speaker B

00:02:14.200 - 00:02:25.440

And so I think it was just the, like, excitement of experimentation and also of, like, coming up with something that sounded good to me. And then I hear people humming, and I hummed myself. And I was like, wow, I invented.

Speaker A

00:02:25.440 - 00:02:32.200

That, you know, Were you being influenced by things that you were listening to at that point, or was it always just something that came from inside?

Speaker B

00:02:32.440 - 00:02:52.080

And I was listening to mostly, like, the stuff that my parents were listening to. You know, pop songwriters, folk songwriters. I guess, like, Paul Simon was always around. The Beatles were always around.

Probably there were some influences from, like, the top 40 radio stations that I was listening to, although I prefer not to claim them.

Speaker A

00:02:52.480 - 00:02:56.000

There was also family support for creating music.

Speaker B

00:02:56.320 - 00:03:21.610

Yeah, totally. Yeah. We all started taking piano lessons when we were in kindergarten, and we, you know, sang in the church choir and stuff.

So there was music around the house a lot.

I think that's definitely an important factor in just, like, being excited about music and also having your ears develop sort of, like, without you even doing any work. You become a better musician if you're listening to music and it's around your environment.

Speaker A

00:03:22.090 - 00:03:23.610

What kind of church choir?

Speaker B

00:03:23.770 - 00:03:50.100

The Lutheran church. And actually my church had three or four separate choirs. There was, like, Cherub Choir, which was, I think, even pre kindergarten.

You could start singing in the church choir. And then there was junior choir, senior choir, choristers. And we would sing, like, I don't know, just things that were adapted for church choir.

But there was, like, four parts. It was definitely a good introduction to, like, singing melodies.

Speaker A

00:03:50.420 - 00:03:55.140

At what point did it become obvious to you that this was going to be what you were going to pursue?

Speaker B

00:03:55.540 - 00:04:49.870

Guess it was, like, my main interest starting in junior high or high school. And I also, like, wanted to be a musician since I was very young. You know, again, like, as soon as I started playing, although it's like the sort of.

At that time, it was like saying I wanted to be a fireman or an astronaut. But, you know, it just happened to be the thing that I clung to from, you know, very young.

And then, you know, I went to college for English and for music. So, I mean, even at that point, I wasn't, like, totally sold that it was all going to work out.

I think a big part of what helped me to make the jump to, like, being professional musician was just meeting a lot of other professional musicians, like, through my college professors, different musicians that I would go see playing around Boston and New York. You know, there's definitely some, like, good role models that I would see.

Mostly, I guess, peers that were slightly older than me, where I was like, wow, you can really actually do this.

Speaker A

00:04:50.190 - 00:04:54.110

With double majoring with English. Did that influence the type of writing that you were doing?

Speaker B

00:04:54.350 - 00:05:08.600

I've never been a really cerebral lyricist. Or at least I don't think of myself that way.

So, you know, I. I've never, like, sat down with super academic type of goals for, like, the piece that I was writing.

Speaker A

00:05:08.680 - 00:05:09.720

Sure, sure.

Speaker B

00:05:09.720 - 00:05:28.070

Like I said earlier, I kind of sit down and try to come up with something that I would like listening to. But I think the education that I got from an English department informed my writing in a way that's kind of subconscious.

Like, words a lot and like reading. Do a lot of reading to this day. And I think those things come out.

Speaker A

00:05:28.070 - 00:05:38.750

In the songs as you were able to get out and about when you were in school, and particularly with the Boston and New York with such great opportunity to hear people. Where did that lead for you?

Speaker B

00:05:39.390 - 00:06:01.940

Well, I moved to New York as soon as I finished college. And at the time, I was kind of thinking that I wanted to move there to pick up some extra work as, like, a side musician, as a bass player.

You know, that's oftentimes, like, a good thing to do to supplement your own sort of creative endeavors is play in other people's projects. Everybody's always looking for a bass player.

Speaker A

00:06:02.100 - 00:06:02.660

Yep.

Speaker B

00:06:03.140 - 00:06:43.270

Just the way that things sort of worked out. It ended up that the two bands that I sort of play with almost full time right now were the ones that I was already in before I moved to New York.

Lake Street Dive. We started playing together our sophomore year of college. And, like, when I moved to New York, that wasn't even, like, close to full time.

We were playing maybe, I don't know, 40 gigs a year or so.

And things have just grown in a really nice way where, like, sort of unexpectedly, you know, I am making my living, like, completely off of bands that I am writing for and, you know, started and have seen from the ground up. That was really exciting to watch that all happen.

Speaker C

00:06:43.590 - 00:06:51.350

Hey, this is Rachel Price from Lake Street Dive. And if you want to know some more about us, check us [email protected].

Speaker A

00:06:51.830 - 00:06:55.190

So how did you all come together as Lake Street Dive then in school?

Speaker B

00:06:55.510 - 00:07:02.310

Well, maybe this is a good point to pass you off to Mike Olson. He is the founder of our band. He'll tell you that story.

Speaker D

00:07:02.550 - 00:07:04.550

I love this story. This is Mike Olson.

Speaker A

00:07:04.550 - 00:07:07.230

Hey, Mike Olson. I'm Sloan Spencer. Welcome to Country Fried Rock.

Speaker D

00:07:07.230 - 00:07:08.750

Hi. Thank you very much for having us.

Speaker A

00:07:08.750 - 00:07:13.510

We're thrilled to have you. All right, so just from seeing you all live, I know that you all have two mics in the band.

Speaker D

00:07:13.590 - 00:07:17.190

We do have two mics, which is. I'm the yellow mic. That's right. The other one is Brown Mike.

Speaker A

00:07:17.190 - 00:07:20.390

Okay. We have Yellow Mike and Brown Mike. And Yellow Mike also plays the horns.

Speaker D

00:07:20.720 - 00:07:21.200

That's true.

Speaker A

00:07:21.280 - 00:07:25.360

The question was, how did you all end up getting together then as a band in college?

Speaker D

00:07:25.760 - 00:07:44.720

It was just totally like. I mean, it was more or less an accident. I knew all three of the other members as either friends or friends of friends.

The really cool thing about NEC was that New England Conservatory where we went to college. That you could essentially walk up to anyone and say, hey, you want to play? And they would always say, yes.

That was really, like, the coolest thing about it.

Speaker A

00:07:44.720 - 00:07:45.440

That is cool.

Speaker D

00:07:45.520 - 00:08:25.960

Yeah. So it was essentially just that, seeing them in the halls and saying, hey, when are you free to hang out and do some playing?

You know, we picked a room and sat down and just began. And it was pretty inauspicious, really, at the beginning, because it was kind of an odd instrumentation. Drums, bass, trumpet, voice.

And really, in all frankness, wasn't cool or good.

And so it was, you know, if I could somehow step through an ethereal door into the past and visit us that day with my thumbs up, I kind of wish I'd be able to do that. Because there was no indication that we would be good in that first day or month or first year.

Speaker A

00:08:26.040 - 00:08:27.320

So why did you keep at it?

Speaker D

00:08:28.360 - 00:08:32.680

That's a good question. Well, we're really good friends, which I think helps.

Speaker E

00:08:32.680 - 00:08:33.160

Yeah.

Speaker D

00:08:33.240 - 00:09:11.640

Because if we had been, like, intolerant or hostile towards one another, the fact that the music wasn't very good wouldn't have helped. But fortunately, we just purely and simply enjoy one another's company.

And over time, as the music improved, it was kind of like the icing on the cake, which is maybe backward from the model that a lot of other bands experience, you know, good music, and then they become friends over time. You know, it's probably unrealistic to think that we would still be playing awful music because we're such good friends after eight years.

But fortunately, thank God, the music improved. And so we can sort of hug one another after the gig and hug our fans.

Speaker A

00:09:11.800 - 00:09:20.920

When you all were going from what you describe as not very good to where you are now, how did the sound itself develop? Because it's become something very...

Summary

We're diving deep into the world of independent music with Fort Collins, Colorado's very own Charles Hale, the mastermind behind Driver 8 Records and Ajax Diner Book Club. Charles is not just your average record store owner; he's a long-time community radio host and a passionate music advocate who believes that it’s all about taste, not trends. In our chat, we explore his journey from a curious high schooler raising his hand to get on the airwaves, to opening a boutique record store that fills a much-needed gap in his community. We reminisce about some legendary dive bars where the music flows as freely as the drinks, and Charles shares tales of unforgettable performances that remind us of the magic of live music. So grab your drink of choice, kick back, and let’s get to know the man behind the records and the radio waves, because this is all about the vibe, folks!

Bio

Show Notes

In this episode, we dive straight in with Charles Hale, the creative force behind Driver 8 Records and the Ajax Diner Book Club on KRFC radio. From spinning records on college radio to opening one of the city’s most beloved record stores, Charles shares the story of how passion, persistence, and community came together to build something truly special.

What You’ll Hear in This Episode

• The origin story of Driver 8 Records: How Charles turned a community need into a thriving record store that opened its doors in July 2022.
• Behind the business plan: A year and a half of late nights, coffee-fueled brainstorming sessions, and the moment he knew it was time to take the leap.
• Curating with heart: Why Driver 8 isn’t just about selling vinyl; it’s about creating a space where music lovers can discover something meaningful.
• From radio to records: Charles’ journey from a volunteer college DJ to hosting a Friday afternoon radio show that celebrates his deep love for sound and storytelling.
• Doing the “unfun work”: The lessons learned along the way about persistence, preparation, and embracing every part of the creative grind.
• A tour through musical memories: Stories from dive bars and venues that shaped his appreciation for live music, like the Parish Baker Pub in Oxford, Mississippi, and Surfside 7 in Fort Collins.
• Community at the core: How local scenes, shared spaces, and a good setlist can bring people together in lasting ways.

Why You’ll Love This Episode:

It’s an honest, inspiring, and down-to-earth chat that reminds us why independent music, and the people who champion it, matter so much. Whether you’re a crate digger, a small business dreamer, or just someone who loves a good story about following your heart, this one’s for you.

Listen now to hear how Charles Hale built more than a record store; he built a community around the joy of music.

Links

• Get to know the rest of the Regulars
• You might also like our other podcasts, Sleep with Rock Stars or Country Fried Rock
• Toss a few coins in our Tip Jar!

Chapters

• 00:12 - Introducing Charles Hale: A Music Enthusiast
• 01:10 - Starting a Record Store: Charles Hale's Journey
• 02:49 - Journey into Radio and Writing
• 05:11 - Exploring Music Venues
• 06:01 - Music Venues Across America
• 06:59 - Introduction to Dive Bar Music Club

Takeaways

• Charles Hale's journey into music began with a simple act of raising his hand, showcasing how opportunities can arise from just a willingness to volunteer.
• At Driver 8 Records, we embrace a philosophy of taste over trends, ensuring that our selection resonates with true music aficionados.
• Community radio plays a vital role in nurturing local music scenes, providing a platform for emerging artists and fostering connections among fans.
• Dive bars like Surfside 7 in Colorado and Parish Baker Pub in Mississippi create intimate settings where unforgettable live music experiences thrive.
• The essence of a boutique record store lies in its unique curation, where each vinyl tells a story and connects listeners to the heart of music culture.
• Engaging with music on multiple fronts—from retail to radio—allows for a richer connection to the art form and strengthens community bonds.

Mentioned in this Episode

• Driver 8 Records
• Ajax Diner Book Club
• Nine Bullets blog
• KRFC radio
• Fort Collins, Colorado
• Oxford, Mississippi

indie music podcast, music nerd podcast, underground music podcast, music roundtable podcast, best new indie bands, independent music podcast, music discovery podcast, alternative music podcast, podcast for music lovers, dive bar music podcast, low key music podcast, deep cut music discussion, music tastemakers podcast, music festival discoveries, music zine culture, DIY music scene, touring musician stories, hidden gem bands, vinyl collector podcast, music conversations podcast,

Transcript

Speaker A

00:00:00.640 - 00:00:41.100

Welcome to Dive Bar Music Club, the low key, high taste happy hour for music nerds. Each week we're joined by a rotating cast of true music fans, people who live and breathe independent music.

This week, we're featuring one of the regulars, Fort Collins, Colorado, record store owner Charles Hale of Driver 8 Records and Ajax Diner Book Club. Hale has spent years in community radio. In the retail end of a boutique record shop, we're not about trends. We're all about taste.

Part hang, part deep dive, part time machine. So grab a drink, slide into the booth, and get to know Charles Hale, one of our regulars on Dive Bar Music Club.

Speaker B

00:00:41.340 - 00:00:47.740

So, Charles Hale, I sure appreciate you being part of Dive Bar Music Club. What have you been up to in the world of music these days?

Speaker C

00:00:48.220 - 00:01:08.160

So it's every day I go to work, which is owning a record store. So every day I'm surrounded by music. And every week I host a radio show.

So I'm throughout the week thinking about what I want to play, how I want to put it together for my Friday afternoon radio show.

Speaker B

00:01:08.400 - 00:01:10.320

Tell me a little bit more about your record store.

Speaker C

00:01:10.560 - 00:01:45.770

So the record store opened in July of 2022. I decided about a year and a half before then that I wanted to open a record store.

I thought Fort Collins needed a better record store or a record store like I had in mind. And it took about a year and a half to write the business plan, figure everything out, most significantly, figure out how to pay for it.

So we specialize in new and used records. We're a small boutique store, but people seem to like us very nice.

Speaker B

00:01:45.770 - 00:01:54.560

So y' all should definitely check out the driver 8 records in Fort Collins, Colorado. So, Charles Hale, how on earth did you end up in the music business?

Speaker C

00:01:54.880 - 00:04:27.450

You know, it's a great question, and I think the simplest answer is that way back when I raised my hand, sometimes that's all it takes. I don't know how. I happened to learn while I was in high school that colleges had radio stations, that if you were a student, you could be a dj.

But once I learned that, that was my primary focus for going to college. So I just walked in to the campus radio station and said, hey, I want to do this. And went through the training, obviously, volunteer.

I did that for two years, dropped out, then went to another college. And a guy I moved in with was a deejay at that college station. And he said, hey, you should come down. So again, I raised my hand.

I go down there, I say I have some experience, and I get a midnight shift. Then years Later I'm reading the Nine Bullets blog and there happens to be a post that says, help wanted. We're looking for writers.

And so I fired off an email and said, hey, I've got a degree in creative writing. I know music, I'd love to write. So that happened.

Then a year or so after that, I was thinking about getting back in radio and looked at the community station in Fort Collins and I saw that the music director in his website bio read nine Bullets. And so I sent him an email, said, hey, I've done radio in the past. I write for Nine Bullets. I'd like to be involved.

So again, just sort of volunteering.

And then from that I also started helping put together a, like a mini roots festival by just saying after I attended the first year, saying, hey, I could help, if you need anything, let me know. So again, you just sort of raise your hand, you volunteer.

And then I think it's important to be willing to do the unfun work because everybody in music wants to do the fun work. And then with the record store, that's sort of me just raising my hand to myself of saying, here is something that I think my community needs.

I feel like this is something I might could be good at and let me see if I can figure out a way to make it happen. And then we're three and a half years in to the record store and people come by every day and buy records.

Speaker B

00:04:28.090 - 00:04:34.410

Definitely check out Driver 8 records and folks can contact you online if they have any, like, special orders and stuff, can't they?

Speaker C

00:04:34.790 - 00:04:48.470

Yes, we've got a website, we've got Facebook, we've got Instagram, and just recently we launched a Discogs page. So we sell some of our, our used inventory on Discogs.

Speaker B

00:04:48.950 - 00:04:57.830

Very cool. So, yeah, definitely Driver 8 Records, both online as well as in Fort Collins, Colorado for the boutique shop. But also Ajax Diner Book Club is.

Speaker C

00:04:57.830 - 00:05:05.460

The radio show which is also streaming, streaming [email protected] Fantastic.

Speaker B

00:05:05.460 - 00:05:21.820

Community radio, always part of any great arts community and vital these days to emerging music. Well, Charles, one of the things we all love are the different venues that make the music even more magical.

Are there any places in the past or in the present that you love to go see or hear music?

Speaker C

00:05:22.460 - 00:06:31.460

No. Sticking with the dive bar theme, there are two, two dive bars in my past that are worth mentioning. One was when I was living in Oxford, Mississippi.

There was a small bar called the Parish Baker Pub. They had music there fairly regularly, but there was never a cover charge.

So sort of on their way up at Parish's Bar, I saw J. Roddy Walson in the business. I saw Cedric Burnside, I saw American Aquarium and I saw Pokey La Farge. Never paid a dollar for any of them.

And then the other one is out here in Colorado. It's called Surfside 7. There, there was, you know, a five or ten dollar cover charge. But over the years I've gotten to see people like Charlie Parr.

I saw John Morland play to 11 people there. Arlis, Nancy, and of course our hometown heroes Drag the River have played there a bunch.

So Surfside 7 in Colorado and Parrish Baker Pub in Oxford, Mississippi.

Speaker A

00:06:31.940 - 00:06:32.380

Wow.

Speaker B

00:06:32.380 - 00:06:38.300

Absolutely fantastic. And for me it's fun to learn about places that are the space for.

Speaker A

00:06:38.300 - 00:06:39.380

Different parts of the country.

Speaker B

00:06:39.460 - 00:06:41.540

So thank you so much. I appreciate it.

Speaker C

00:06:41.860 - 00:06:43.420

Absolutely awesome.

Speaker B

00:06:43.420 - 00:06:46.260

Well Charles, where would you like people to be able to find you?

Speaker C

00:06:46.500 - 00:06:54.980

Instagram. The Instagram is driver the number 8 Rex R E C s easy to find.

Speaker B

00:06:54.980 - 00:07:02.540

Y' all should definitely stop by. I know that. And of course from one of my all time favorite bands. As folks who listen to this new show, Dive Bar Music Club will definitely.

Speaker A

00:07:02.540 - 00:07:20.810

Find out that's last call at Dive Bar Music Club. If you like the hang, follow the show, leave a review and tell your algorithm, gosh darn it, we're worth it.

Better yet, share your favorite episode with a friend who actually stayed for the whole set. See y' all next time for the low key, high taste happy hour for music nerds.

Summary

Caitlin Cary joins us for a thoughtful and downright inspiring chat about her creative evolution, from the indie rock trenches to the calm, tactile world of fabric collage art, which she affectionately calls her “needle prints.” We dig into how this shift has opened up new ways for her to express herself, offering both artistic freedom and a healthy bit of distance from the grind of life on stage.

Caitlin also gets reflective about her roots in Raleigh, North Carolina, the places, people, and memories that shaped her, and how the city’s constant transformation nudged her to start preserving its essence through her artwork.

Of course, it wouldn’t be a conversation among musicians without a few good laughs: we revisit her whirlwind years as co-founder of Whiskeytown alongside Ryan Adams, swap stories about the unpredictable charm of dive-bar gigs and bartending shifts, and touch on what it means to keep creating, no matter the medium.

So, pour yourself something good, settle in, and join us as we explore the crossroads of music and visual art with Caitlin Cary. She’s full of sharp insight, warmth, and a few recommendations you won’t want to miss.

Bio

Chapters

• 00:15 - The Shift in Artistic Expression
• 02:55 - Transitioning from Art to Music
• 04:14 - The Journey into Music and Art
• 06:32 - Navigating the Craft Cocktail World
• 08:38 - The Excitement of Music Recommendations

Show Notes

In this episode of Dive Bar Music Club, we sit down with Caitlin Cary, a former touring musician turned visual artist, for a heartfelt conversation about her journey from the indie music scene to creating stunning fabric collage art, which she calls "needle prints."

Caitlin opens up about how she made the transition away from music and found solace in a new form of artistic expression. We explore the personal connection she has to her hometown of Raleigh, North Carolina, and how the ever-changing landscape of the city inspired her to start documenting its most beloved landmarks through her art. Caitlin shares how this shift in focus has given her the creative distance she needed while still maintaining a fulfilling artistic career.

From her early days as a classically trained violinist to her unexpected entry into the world of indie rock with Whiskeytown, Caitlin's journey into music was as unpredictable as it was transformative. She reflects on the chaotic, yet rewarding years spent in the music industry, the quirks of dive bars, and what it means to live the life of a working musician.

We also talk about the humble, yet vital, venues that played a huge role in her life, both as a performer and a bartender, including Raleigh's own Humble Pie and The Pour House Music Hall.

And of course, we discuss Caitlin's recent achievements, including having her artwork featured in the North Carolina Museum of Art, a long-awaited dream come true.

Listen in for:

• Caitlin's transition from music to visual art
• The inspiration behind her "needle prints" and how they connect to her roots
• Stories from her time touring with Ryan Adams and bartending in dive bars
• The challenge of navigating the modern craft cocktail scene as a non-drinker
• Her thoughts on how music, art, and community intertwine

Where to Find Caitlin:

• Note: If you’re searching for her past music, be wary of some...colorful results when you Google "Tres Chicas."

Subscribe, Rate & Review:

If you’re loving the conversation, don’t forget to subscribe, rate, and review the show. And as always, share your favorite episodes with friends who appreciate good music, good art, and great conversation.

Dive Bar Music Club is your low-key, high-taste happy hour for music nerds. See you next time!

Takeaways

• Caitlin Cary's transition from music to visual art highlights the dynamic nature of creativity; it's all about finding what resonates with your soul.
• The concept of needleprints serves as a fascinating analogy for the artistic process, marrying personal history with tangible expression in fabric.
• The Dive Bar Music Club fosters a unique community for indie music lovers, inviting deep discussions and connections over shared passions.
• Caitlin's experiences in venues like Poorhouse Music Hall illustrate the importance of local music scenes in shaping both artists and audiences alike.
• Ryan Adams' serendipitous invitation to Caitlin (who then co-founded Whiskeytown) underscores the unpredictable paths that often lead to fulfilling artistic careers in music.
• Caitlin's reflections on homesickness and change resonate deeply, reminding us that art often emerges from the need to document and preserve our personal histories.

Links

• caitlincary.com
• Get to know some of our other Regulars
• 
  

Mentioned in This Episode

• Tres Chicas
• Humble Pie
• Pour House Music Hall
• NC State
• North Carolina Art Museum

indie music podcast, music nerd podcast, underground music podcast, music roundtable podcast, best new indie bands, independent music podcast, music discovery podcast, alternative music podcast, podcast for music lovers, dive bar music podcast, low key music podcast, deep cut music discussion, music tastemakers podcast, music festival discoveries, music zine culture, DIY music scene, touring musician stories, hidden gem bands, vinyl collector podcast, music conversations podcast,

Transcript

Speaker A

00:00:02.400 - 00:00:33.850

Well, mostly unenvious quitter. Of course. I haven't quit creativity, but I certainly have. For the most part, or at least for now, I've quit music.

I found an art form that is not made out of my body and out of my soul. Somehow, like there's this super comforting remove between what I am and what I make that is like, I'm so happy.

Speaker B

00:00:35.130 - 00:01:19.030

Welcome to Dive Bar Music Club, the low key, high taste happy hour for music nerds. Each week we're joined by a rotating cast of regulars, people who live and breathe independent music.

This week, we're introducing you to Caitlin Carey, a happily retired touring musician and celebrated visual artist.

Carrie spent years in the trenches of the indie scene, and now she'll be bringing a lot of that real world music knowledge to our barstool roundtable. Part hang, part deep dive. It's Dive Bar Music Club.

Grab your drink, pull up a chair, and let's dive in with Caitlin Carey on this episode of Dive Bar Music Club. Caitlin, you've been doing some beautiful creative work lately that's kind of taken you away from music. What have you been up to?

Speaker A

00:01:19.580 - 00:01:47.840

Yeah. Thank you. For about the past decade, I've been making fabric collage. I made up a name for it because the words weren't really there.

But I call it needle print. And basically it's sort of a friend of quilting.

But I sew fabric onto canvas and I'm very feeling very lucky that I've been able to sort of make a big transition into different form of art that's also my living.

Speaker B

00:01:48.080 - 00:01:54.480

I think I first got to know that work. When you were doing some representations of historic buildings in North Carolina.

Speaker A

00:01:55.520 - 00:02:54.950

Yes.

It's funny, I do connect that to my music life, mostly in the sense that I think that I spent a lot of time being really homesick, and home is Raleigh, North Carolina, and it felt like every time I came home, some building that I loved had been torn down or something had changed. And I'm generally like a not into change person, but I.

It sort of made me feel this strong urge to start documenting the places that made my home feel like my home. And that sort of merged with this way of making art out of fabric that developed into a whole, you know, my whole thing for a number of years.

I've kind of decided I don't want to be the lady that makes landmarks forever. But I certainly enjoyed doing it. And it. I feel very lucky that I.

That it resonated for people and it gave me a foothold in a new, you know, in a whole new career.

Speaker B

00:02:55.670 - 00:02:59.670

So Caitlin Carey, how did you end up having a life in music?

Speaker A

00:03:01.110 - 00:04:38.990

Utterly by accident. I mean, I studied violin from a very young age. I started at 4 and was pretty serious until about 16 when I gave it up for.

I don't know what 16 year olds do, but at least for me it wasn't classical violin. And for a while I stopped and then picked it back up again in college. But through sort of beginning of a career in music was very accidental.

I was in graduate school at NC State and I don't even remember that I told anybody that I was a musician, but I guess I did.

And I got a phone call out of the blue from Ryan Adams saying that he was starting a band and he heard that I was a fiddle player and did I want to be in a band. And I don't even know also why I said yes to that because it was insane.

I was teaching and in a more or less serious academic path heading towards probably trying to become an author, but certainly trying to teach and be in academia. And instead I ran away with the circus, so to speak.

And it really was a circus that launched into a couple decades of, of making music as my livelihood and my life. If asked, I would refer to myself as a visual artist and my goal is to be in the art museum. Well, actually I've achieved that goal.

I got in the art in the real life North Carolina Art Muse just recently.

Speaker B

00:04:39.230 - 00:04:42.430

So congratulations. That is just spectacular.

Speaker A

00:04:42.510 - 00:04:51.710

Thank you. It really feels great. It's a tiny little piece in a, in a little group show. But hey, I didn't have to die to get in the art museum.

Speaker B

00:04:53.950 - 00:05:12.350

Obviously this podcast is dive bar music club and music venues are a huge part of what all of us love.

But have there been any small to medium places and spaces that have really spoken to you with music, whether performing or seeing or just being part of a community?

Speaker A

00:05:13.550 - 00:06:32.700

Oh absolutely. I could say name several in Raleigh and I've also worked in them a lot.

I worked at Humble Pie, which was a restaurant most of the time that turned into a show venue on the weekends where we, we would be washing the dishes and then move all the tables out of the way and set up the stage. And sometimes I would be the person that went out and played on that stage and sometimes we just got to see great shows.

And yeah, there's also the Poorhouse Music hall in Raleigh which is still going as one of our really great sort of mid size clubs. And I both Skillet and I, my husband Skillet and I have Bartended there.

It's been a while now, but that was a big part of our supplemental income when we were. When we were musicians touring. You know, you. You can hold down a job even when you're gone a lot if you're a decent bartender.

I really couldn't be a bartender now in most places because the world of, you know, the well a. I don't really drink. I don't drink anymore. But also the craft cocktail world has all that muddling of fresh herbs and.

Speaker B

00:06:32.700 - 00:06:45.420

Shit that developed after I stopped drinking. So, like, I have. I'm completely clueless when people talk about it. I'm like, I'm sorry. Last time I drank was like, bucket of beer era. So sorry.

Speaker A

00:06:45.900 - 00:06:46.620

Yeah, right.

Speaker B

00:06:48.140 - 00:06:50.380

Where would you like people to find you?

Speaker A

00:06:51.100 - 00:07:26.970

I'm easy to find on caitlincary.com. i was smart enough to get that a long time ago. So. Yeah. And it's full of my artwork and a little tiny blurb maybe about my music. I don't. It's funny.

You don't want to confuse the point. So to learn about my music, you might go to our friend Google, I guess.

Or better yet, go to one of the streaming platforms and go listen to some rather than read about the boring exploits of or what have you. If you look up my band, Trace Chicas, you're liable to get some dirty porn, so watch out.

Speaker B

00:07:27.530 - 00:07:31.290

Oh, I didn't know that. I'm very familiar with Trace Chicas, but not. Not that one.

Speaker A

00:07:32.250 - 00:07:35.450

There's. There are others, apparently, and they do naughty things.

Speaker B

00:07:35.850 - 00:07:40.730

Alrighty. Well, to each their own. One probably pays better than the other. And it's not the music.

Speaker A

00:07:40.810 - 00:07:42.570

That's right. Anyway.

Speaker B

00:07:42.650 - 00:08:01.660

Anyway, Caitlin Carey, I'm so excited that you're going to be part of what we're doing here with Dive Bar Music Club. And I'm looking forward to finding out what it is you are listening to these days.

You've always got a few little gems that you share that I'm like, oh, I should know that. Or I love that too. And I'm going to nerd out about it, but we very much appreciate you being part of it.

Speaker A

00:08:02.220 - 00:08:38.400

That's really cool. I'm excited. It's going to be great. Our music world is so fractalated, pixelated, exploded, that I always feel like I'm missing something wonderful.

So I really look forward to hearing other people's recommendations. That's going to be fantastic. And why they're passionate.

You know, I've always said, like, I don't watch sports, but if I'm with somebody that's really into the World Series, I'm going to sit next to them and, like, totally catch their vibe. You know, I'm looking forward to that part.

Speaker B

00:08:38.640 - 00:08:50.860

You know, I'm much more likely to listen to something when someone passionately loves it and maybe listen for things that I didn't give a chance to previously as well. So I'm as excited about this as everyone else. So thank you. Thank you. I sure appreciate, appreciate it.

Speaker A

00:08:50.860 - 00:08:52.140

Good to talk to you, Sloane.

Speaker B

00:08:53.500 - 00:09:10.940

That's last call at Dive Bar Music Club. If you like the hang, follow the show, leave a review, and tell your algorithm, gosh darn it, we're worth it.

Better yet, share your favorite episode with a friend who actually stayed for the whole set. See y' all next time for the low key, high taste happy hour for music nerds.

Summary

Welcome to the Dive Bar Music Club, where we’re all about vibing with our favorite tunes and diving into the deep cuts that make our playlists louder than a karaoke night gone right. This episode is all about celebrating the indie music scene. No pretentiousness here, just genuine passion for the sounds we love. Our rotating crew of music aficionados pulls up a barstool to share what’s currently spinning in their heads and hearts, from overlooked gems to the fresh bands that are about to blow up. We're cutting through the usual industry chatter and gatekeeping, so you can enjoy real talk about the tracks that resonate with us, whether they’re from that cozy basement show or a band on the verge of their big break. So, pour yourself a drink, get comfy, and let’s hang out, because music is always better with friends!

Show Notes

Welcome to Dive Bar Music Club, the hangout where indie music lovers meet to swap stories, share obsessions, and discover their next favorite song.

Picture this: a round of drinks, a few deep cuts spinning in the background, and a bunch of folks geeking out over the sounds that move us, from basement shows to breakout bands.

No pretentious vibes here, just real talk about what makes great music stick.

Each month, I’m joined by a crew of passionate voices as we dive into the heart of indie music culture, exploring how sound evolves, the grassroots scenes that shape it, and the hidden gems that deserve a bigger spotlight.

Expect plenty of laughs, a few wild stories, and a lot of “Wait, you’ve GOT to hear this track!” moments.

So grab a drink, pull up a stool, and join the conversation.

Because at Dive Bar Music Club, everyone’s got a song worth sharing.

Links

• divebarmusicclub.com
• Meet the Regulars

Dive Bar Music Club is the ultimate hangout for music lovers: easygoing vibes, great conversation, and seriously good tunes.

• Our rotating crew digs into indie music gems that deserve more love, so you’re always ahead of the curve.
• No gatekeeping here, just real talk about the songs that hit us right in the feels.
• New episodes drop every month, so grab a drink and keep that playlist close.
• Hit subscribe to stay in the loop and join us on every new musical adventure.
• Want to learn more? Visit divebarmusicclub.com to connect with our music-loving community and share the soundtrack of good company.

indie music podcast, music nerd podcast, underground music podcast, music roundtable podcast, best new indie bands, independent music podcast, music discovery podcast, alternative music podcast, podcast for music lovers, dive bar music podcast, low key music podcast, deep cut music discussion, music tastemakers podcast, music festival discoveries, music zine culture, DIY music scene, touring musician stories, hidden gem bands, vinyl collector podcast, music conversations podcast,

Transcript

Speaker A

00:00:01.600 - 00:00:49.300

Welcome to Dive Bar Music Club, the low key, high taste happy hour for music nerds.

Every month, a rotating crew of indie music experts pull up a barstool to talk about what's spinning in their playlists right now the deep cuts, the new finds and bands you should have known but missed.

No gatekeeping, no industry flexing, just real conversations about the songs that move us from tiny basement shows to your next favorite band's debut record. New episodes drop monthly, so grab a drink, plug in, and hang with us at the Dive Bar Music Club hit.

Subscribe in your favorite podcast app so you never miss an episode. And check out more at divebarmusicclub.com where music always sounds better with friends.

Summary

A NOTE FROM SLOANE SPENCER: If there was one band I could get back together from the entire history of Country Fried Rock, it would be Glossary. I am also indebted to Kneiser for suggesting I buy a left-handed guitar, instead of trying to play right-handed or upside-down, as I had been.

From 2012: Joey Kneiser from the band Glossary rolls into the podcast to dish about the wild ride of crafting music outside the mainstream bubble. He kicks things off by reminiscing about his early days, realizing that making a living as a musician didn’t have to mean selling out; who knew underground vibes could be so liberating? With a smorgasbord of influences from the Replacements to gospel tunes, he shares how these eclectic sounds shaped his songwriting journey, making it all about the groove and storytelling. As they riff about the challenges of being a small band in a content-saturated world, Joey reflects on the importance of connection and creativity, proving that sometimes, it’s about the journey, not the destination. Stick around as they dive into the nitty-gritty of what keeps the band moving forward despite the odds, and how they keep the magic alive in their music-making process.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Toss a few in our Tip Jar!

• Glossary
• Glossary on Bandcamp
• Joey Kneiser on Bandcamp
• You may also enjoy this conversation from 2015 with Folk Family Revival

Show Notes

In this laid-back conversation on Country Fried Rock, Joey Kneiser, frontman of Glossary, takes us on a journey through his musical evolution and the underground scene that shaped his artistic identity. Here's what you'll find in this episode:

• Joey's Musical Genesis: From discovering The Replacements and Fugazi to jamming out to Michael Jackson and early hip-hop, Joey reflects on how these influences sparked his desire to make music that’s real and relatable.
• Formation of Glossary: Hear how Glossary came together in the late '90s, driven by a shared love for indie rock and the spirit of the underground scene. Joey shares the story of how the band formed and what kept them going through the years.
• Songwriting & Collaboration: Joey dives into the nuances of songwriting, highlighting how the band's creative process thrives on collaboration and mutual respect, helping to create their unique sound.
• New Album Talk: Get a peek into the band's latest album, where they blend rock, R&B, and gospel to create something fresh yet deeply rooted in their musical influences.
• The Struggles of Small Bands Today: Joey talks candidly about the challenges of being a small band in a crowded music landscape, securing booking agents, staying visible, and cutting through the noise.
• The Joy of Music: Despite the struggles, Joey’s passion and optimism shine through as he talks about the pure joy of making music with friends and connecting with their fans.

Tune in for a conversation that’s not just about music, but about staying true to your art, no matter how big or small your platform might be.

Chapters

• 00:12 - Introduction to Joey Kneiser and Glossary
• 00:16 - The Journey into Underground Music
• 12:48 - Exploring New Musical Influences
• 17:42 - Transitioning to Solo Projects
• 22:28 - The Challenges of Touring as a Small Band
• 24:23 - The Impact of Touring and Collaborations on Band Growth

Takeaways

• Joey Kneiser's journey into music began with discovering underground bands that inspired his songwriting journey beyond mainstream success.
• The evolution of Joey's musical style reflects a deeper understanding of songwriting, emphasizing chord complexity and narrative depth.
• In today's saturated music scene, finding a unique voice is crucial as every artist competes for listener attention in a digital landscape.
• Collaboration and community have been essential for Joey's band, as they rely on connections with other musicians to expand their audience.
• The shift from physical mixtapes to digital streaming has changed how fans discover music, impacting the band’s reach and growth.
• Joey's creative process involves writing songs on piano, which has introduced new musical elements that diversify their sound and keep it fresh.

Mentioned in this Episode

• Glossary
• Replacements
• Fugazi
• De La Soul
• Iron Maiden
• Run DMC
• NWA
• Jawbreaker
• fIREHOSE
• Minutemen
• Black Flag
• Lucero
• Patterson Hood
• Two Cow Garage
• Slobberbone
• The Drams
• Centro-Matic

Recommended If You Like

podcast about musicians, Country Fried Rock podcast, Joey Kneiser interview, Glossary band, underground music influence, songwriting process, indie rock history, 90s music scene, cult band following, music creativity, influences on songwriting, artist interviews, live music experiences, recording process, music industry challenges, music genres exploration, songwriting techniques, DIY music production, music collaboration, alternative rock insights

Transcript

Speaker A

00:00:00.800 - 00:00:14.400

Welcome to Country Fried Rock where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Today my guest is Joey Kneiser from the band Glossary. Thanks so much for being with us on Country Fried Rock.

Speaker B

00:00:14.480 - 00:00:15.520

I'm glad to be here.

Speaker A

00:00:15.520 - 00:00:17.760

Appreciate you being here. When did you start playing?

Speaker B

00:00:18.400 - 00:01:09.560

I mean, I guess I've just been playing music kind of my whole life, just making up songs. When I was younger, when I was probably about 16, was when I first heard like underground music was a huge epiphany to me.

I didn't realize that you could play music it not be on the radio like that you could have a career, you know, that wasn't like a mainstream career.

I'd first heard like Replacement Fugazi and bands like that who were not getting played really on the radio, but were actually, you know, living off of playing in a band. And I think that's when I kind of decided that that's what I would pursue and that I would pursue that actual trying to learn how to write songs.

And that way that someday, you know, well, I'd the band, you know, I wouldn't have to worry about if I played guitar. I'd have to find a band or if I played drums or something, I'd always have to find a band.

But if I really just focused on trying to write songs, I'd always be the band and me.

Speaker A

00:01:10.520 - 00:01:17.640

Before you discovered the underground music stuff, what were you doing as a kid? Like, what spoke to you musically? Because not every kid does that.

Speaker B

00:01:17.960 - 00:02:14.200

I mean, when I was a kid, I was like. Probably most kids that like, you know, grew up. I'm 37 years old, so I, you know, I grew up. Most of my youth was in the 80s.

So I mean, I grew up listening to what was on the radio. Obviously I love Michael Jackson, you know, things like that.

I was also, as a kid of that era got into like the early days of like hip hop and stuff, really into some more weirder hip hop bands. Like I really like De La Soul and later 80s. I remember being extremely obsessed with De La Soul's 3ft high and Rising.

I used to come home from school, from middle school and it was back when El MTV Raps was on.

And I'd like every day when I got home from school and you know, then I'd watch Headbangers Ball on Saturday nights and all was younger and then 120 minutes on Sunday night. I had an older brother, so he was listening to a lot of metal.

Like my older brother, you Know, he listened to like lots, lots and lots of metal like Iron Maiden or something like that. But then he'd listen to like Run dmc, you know, or like NWA or, you know, I was listening to a.

Speaker A

00:02:14.200 - 00:02:19.480

Lot of different stuff when you finally discovered Replacements, which got you into that first.

Speaker B

00:02:20.040 - 00:03:06.590

When I first heard it, I felt like it was probably the same as the people that were a couple years younger than me. Like when they first heard Nirvana. I first heard the placement.

I had heard like, you know, I remember one time, like listening to college radio, hearing left of the dial and then realizing what the song meant.

Like listening to it left of the dial and understanding like, oh, you know, the song is talking about all that music that's on these little college radio stations, you know, the stations that are under 100, you know. And I remember it being like just kind of my introduction into an underground world. And you know, I had. I started skateboarding around 1987.

I skateboarded for about 15 years. And that was like my other, you know, it was so attached to underground music. Like the first time I ever heard like Fire Hose.

Speaker A

00:03:06.670 - 00:03:07.150

Yeah.

Speaker B

00:03:07.150 - 00:03:38.840

Or like, you know, the Minutemen or like Black Flag and stuff like that was in that skate video. So that was kind of like an introduction also to me to that kind of counterculture.

I would definitely say that Let It Be and Tim were the two records that like, then I went out and nowadays when I think about that, I think about how young those guys are on that record. Like you listen to like Let It Be and you think. I think Paul worshippers like maybe 21 or 22 on that record. Crazy how those songs so well written.

Blows me away like 21 year old. Look at.

Speaker A

00:03:38.840 - 00:03:43.160

It's a little different now. But did you get into like bootleg records and stuff back then?

Speaker B

00:03:43.320 - 00:04:30.600

Oh yeah. I mean, that was still the era of like, you know, pre digital world. So like it was still the mixtape era and like when everybody was just, you know.

I remember the first time I heard punk rock band Jawbreaker, which I was really obsessed with at the time. I had a tape that had like two of the records on it and I listened to that tape like until it wore out.

You know, it given me just like back in the tape swapping days where people were just giving each other tape. I mean, so that, that's really how I got. Everything was just somebody recording a tape for me or making a mixtape for me.

And then I find out a band do that and you know, it was, you know, it was still when bandzings were really, how you kept connected to bands because nobody had a website and so you actually had to go physically go to a record store. And then all the people that were into the, you know, the weird underground music that you were into, that's where they all were.

Speaker A

00:04:31.480 - 00:04:37.880

Yeah, there was a human interaction element to that, to like finding out the stuff and hanging out at the record store and that sort of thing.

Speaker B

00:04:37.960 - 00:04:57.510

For sure. I mean, you had to actually go to the place, you know, where, you know, all the, you know, people that listen to the same kind of things you do.

Now it's so anonymous and I mean, it brings everybody close together in the digital age. But then you never really get to meet face to face or, you know, like, I mean, you could find everybody who's into the same thing.

You can, but you're still anonymous.

Speaker A

00:04:58.230 - 00:05:03.830

You all, as a band, have continued to have that sort of following though, as well.

Speaker B

00:05:03.990 - 00:06:04.470

Yeah, I mean, I think we're such a tiny band, you know, we became like, over time. Like, you know, it's just.

Music is just different right now because, you know, we live in like, just a content saturated environment where everybody's a content provider. I mean, everybody has a phone in their pocket, so everybody's a photographer or making videos and just so much content.

So nowadays the struggle for anybody is how to rise to the top, you know, how to get more and more people to know anything. You know, being a photographer or anything.

It's just now that it's made it easy for anybody to do, which is awesome because it gives anybody who had an unattainable dream, like, access to it, put so much content out there.

So it's hard sometimes for like, you know, even though it's easy now for a band to be a band and you got a straight shot to your fans, it's to find those bands. Absolutely, is the hard part. So, you know, we're still like a small band, and I mean, we've just become more so of like maybe like a cult band.

Speaker A

00:06:04.630 - 00:06:05.030

Right.

Speaker B

00:06:05.110 - 00:06:15.110

Just the people who know about us, love us, but, you know, it's still a small group of people. Hey, this is Joey Knyser from the rock band Velocity, and you're listening to Country Fried Rock.

Speaker A

00:06:15.670 - 00:06:25.830

Let's fill some of those gaps then. From you figuring out about this whole underground music scene and kind of how that worked at the time to how did it go into you writing songs?

Speaker B

00:06:26.310 - 00:07:15.930

I realized at an early age that, like, the only way to make a. I thought, you know, when I was like 16, that the easiest way for me to Pursue music for the rest of my life would be to write songs and that I'd have to try to figure out how to write songs because it seemed like if you could write songs, it was like a huge. It was like, had some kind of, like, power to it.

One of the things that was, you know, I still kind of feel in the music, you know, playing music, it's like one of the hardest things is to just create something out of nothing, you know, it's like. And to do it for a long time and try to do it consistently is even harder.

So I just decided that I was going to try to pursue, you know, my life in music would be pursuing the actual writing side of it. I just over time, try to get better at it and find people that wanted to like what I was doing writing the song.

Speaker A

00:07:16.410 - 00:07:18.330

So where did that road take you early on?

Speaker B

00:07:18.730 - 00:09:14.320

Well, I mean, it took me through, like, I think anybody who's young and getting into music and just likes music in general. I mean, it took me, like, through every little genre and subculture of, like, indie rock.

You know, our band technically started in, like, 97, you know, obviously in that time, you know, when I was, like, in college.

And so I still, like, obsessed with bands at the time when I first come into my own writing, you know, I was obsessed with, like, Pavement, Archers of Bow, Pixies, and like, bigger, like, kind of influential, like, 90s bands and indie rock. 90s bands. So, I mean, that's how our band started was out of, like, an indie rock. The 90s indie rock. That's kind of what we were all into.

And then I think once I graduated college, you know, I started listening to more and more, like, troubadour kind of songwriters. You know, I think I heard like, Townes for the first time. And then I heard like, Clark, those kind of writers.

And I got really into, like, Tom Wait, you know, and obviously like Neil Young, Bruce Springsteen and people like that.

And I was, you know, we started getting really into, like, Randy Newman, getting into actual just, like, people who were really good songsmiths and like, narrative songwriters, more and more understanding the art of writing a song.

Because I think before, when I came out of that 90s kind of rock world, like, you could be just obscure and you could just write words that sounded clever together and like, you know, maybe the meaning of the song was left up to the interpreter of it, you know, listener.

But then when I heard these songs that were linear or straight or about something and how powerful it is, when you hear a song, you, like, Know what the song is about. Really well written. And I was just like.

It kind of just brought me back to those original days when I first heard Replacement, because that's how their songs were. Like, I listen to songs and then you knew.

You know, I always say that, like, whenever I first heard Satisfied, it was like, probably when kids first heard like, you know, that Teen Spirit. It's still to this day I hear that song and I'm just. It makes me feel like I'm like 17.

Speaker A

00:09:14.480 - 00:09:21.600

So there have definitely been huge stylistic influences that have changed what comes out in your sound.

Speaker B

00:09:22.000 - 00:10:26.960

Yeah, for sure. I mean, the band has definitely been trying to figure out what we want to do and what. What we can do, like what our abilities are.

I mean, definitely over like the last record, you know, I was listening to like a lot more of R B ish and gospel kind of music and, you know, so it has a little bit of those kind of elements to it. You know, we like rock, you know, music, you know, rock music is really like our, you know, 4K, just good rock, you know, pop song.

So, you know, I mean, we all love like Gooseberries and artists like that that are writing songs but have a big kind of rock and roll sound. And also having rhythm has become more and more important to us.

Things kind of having groove and, I don't know, you know, I mean, rock and roll kind of started like 60 years ago and wrapped around it was the idea of dancing, I think. And a lot of that has been kind of taken out of rock and roll and put up maybe in other kinds of genres of music.

That's about moving in rock and roll. So we were, you know, always kind of attracted to having rhythm and swinging a little bit and like. But still having other kinds of songs.

You know, we...

Summary

From 2012: Gordy Quist from the Band of Heathens jumps into the mix on Country Fried Rock, sharing the lowdown on his musical journey that kicked off with a fake guitar and Beatles jams at the tender age of four. They dive deep into the essence of creativity, exploring how childhood experiences and heartbreaks shaped his songwriting. Quist reflects on the evolution of his music, revealing how the band's organic formation paved the way for their unique live performances, where spontaneity reigns supreme. He emphasizes the importance of authenticity and the thrill of connecting with audiences, noting how each show is a new adventure, full of fresh interpretations and improvisations. As they gear up for their next studio project, Quist's passion for songwriting and commitment to evolving as an artist shine through, making this episode a must-listen for music lovers and aspiring musicians alike.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Toss a few in our Tip Jar!

• Band of Heathens
• Gordy Quist
• You may also enjoy this conversation from 2015 with Great Peacock

Show Notes

• Gordy Quist, lead singer and songwriter for The Band of Heathens, joins Country Fried Rock to talk about his musical journey.
• Gordy reflects on his childhood, starting with a plastic guitar and his love for The Beatles, which sparked his passion for music.
• He shares memories of jamming with imaginary bands at age 4 and learning his first real chords from his dad at age 10.
• Teenage years marked by forming bands, experimenting with sounds, and navigating the emotional rollercoaster of growing up.
• The influence of legendary songwriters like Lyle Lovett and Bob Dylan on his songwriting style and how teenage heartbreak shaped his music.
• Gordy dives into the vibrant Austin music scene, where he honed his craft, and discusses the power of live performances in fueling his creativity.
• From college bands to finding his own sound in Austin, Gordy talks about the artistic rebirth that shaped his career.
• The challenge of balancing commercial success with artistic integrity, why for Gordy, the joy of making music will always come first.
• Reflections on the tough decision to pursue a career in music over a corporate job, choosing passion over stability.
• The creative process of The Band of Heathens, where collaboration and improvisation drive their evolving sound.
• How the band’s chemistry keeps their performances fresh and spontaneous, ensuring that no two shows are the same.
• Gordy looks ahead to the next phase of the band's journey and shares his thoughts on authenticity and artistic freedom in the music industry.

Listen in for an in-depth, candid conversation about the life of a musician, the evolution of a band, and the power of staying true to your art.

Chapters

• 00:09 - Introducing Gordy Quist
• 01:55 - The Journey to Songwriting
• 09:26 - Finding Your Passion in Music
• 12:53 - The Formation of the Heathens
• 22:50 - The Evolution of Live Performance
• 26:56 - The Creative Process of Songwriting
• 35:03 - Exploring New Music and Live Performances

Takeaways

• The podcast dives deep into Gordy Quist's childhood musical journey, revealing how a fake guitar sparked his lifelong passion for music and creativity.
• Gordy shares a humorous anecdote about performing in bands during his teenage years, where playing music helped him impress girls and navigate high school life.
• The conversation highlights the importance of live performance in the creative process, emphasizing how spontaneous moments on stage can lead to unique musical expressions.
• Listeners learn about the evolution of Gordy’s songwriting process, including his recent commitment to writing a new song weekly, showcasing his dedication to musical growth.
• Gordy discusses the impact of personal experiences on his songwriting, particularly how heartbreak inspires authentic and relatable lyrics that resonate with audiences.
• The episode wraps up with insights into the dynamics of band collaboration, revealing how the shifting lineup of the Band of Heathens has influenced their musical direction and creative synergy.

Mentioned in this Episode

• Band of Heathens
• Beatles
• Lyle Lovett
• Paul Simon
• Ray Wiley Hubbard
• Dawes
• Vetiver
• Jonathan Wilson

Recommended If You Like

Country Fried Rock, Band of Heathens, Gordy Quist, music inspiration, songwriting process, Austin music scene, live music experiences, creativity in music, folk rock, Americana music, music collaboration, original songs, music interviews, songwriting challenges, music production, touring musicians, live performances, music authenticity, songwriting tips, music career decisions

Transcript

Speaker A

00:00:00.800 - 00:00:12.960

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Gordy Quist of the Band of Heathens. Morning.

Speaker B

00:00:13.120 - 00:00:14.160

Good morning, Sloan.

Speaker A

00:00:14.160 - 00:00:15.360

Thanks for being with us.

Speaker B

00:00:15.520 - 00:00:16.720

Yeah, it's good to be here.

Speaker A

00:00:17.040 - 00:00:20.880

So let's go way back. How did you personally start playing music?

Speaker B

00:00:21.280 - 00:01:12.720

Well, if you go way, way back, I had a fake guitar when I was like 4 years old that I used to play along to all the Beatles tunes that my. My parents played me. I remember as a kid watching A Hard Day's Night and the concert scene at the end, I would go nuts on my fake guitar as a kid.

But shortly after, probably, I don't know, I think when I was around 10 years old, I convinced my dad to start teaching me some chords on the guitar. So I started playing guitar pretty young. Started playing in bands around, I don't know, probably about the age you start getting interested in girls.

Started trying to form a band to maybe help in that pursuit, you know, maybe 13, 14 years old, started playing in bands and, you know, it was just something that I played a lot of sports and played a lot of music. Those were kind of the two things that I was really into as a kid. That was my start.

Speaker A

00:01:13.040 - 00:01:16.400

So when you were first learning those early chords with your dad, what were y' all doing?

Speaker B

00:01:16.559 - 00:01:23.600

I had three songbooks. I think actually the first song I learned might have been Puff the Magic Dragon.

Speaker A

00:01:23.760 - 00:01:24.240

Yeah.

Speaker B

00:01:24.320 - 00:01:54.520

And then I had the Complete Beatles, Volume one, the Complete Beatles, Volume Two. And then I had a Paul Simon chord book. And so I kind of started off learning a bunch of those songs. And then it quickly turned into rock and roll.

And all the grunge bands were really big when I was 13. And so that. And even some heavy metal actually went through a little phase of shredding with the heavy metal stuff.

So kind of all over the map growing up.

Speaker A

00:01:55.080 - 00:01:57.240

So at what point did you start writing your own stuff?

Speaker B

00:01:57.240 - 00:03:04.240

You know, when I was maybe 14 or so, maybe younger, I went to. My parents brought me to see Lyle Lovett. I think that might have been my first or second concert.

And he was touring behind this album called I Love Everybody, which was actually old songs he had written really early on, and they never made it on an album. And then he finally pulled all these old songs up, and it's a really killer record.

It's this really acoustic, stripped down record that I love to this day. Anyway, that concert had a big effect on me of the idea of writing Songs.

And Lyle would talk in between songs and talk about writing them, and it kind of got the wheels turning. And so I think when I was 16, over Thanksgiving weekend, a girlfriend broke up with me. It had been a long month of going steady with her.

And then she broke my heart that weekend. And I think I wrote a couple of songs that weekend. I think that was the first time I got into that.

Eventually I really started getting into writers like Townsend Zanzant and Bob Dylan and Ev Earl and Guy Clark and that kind of scene of songwriters. And that really fed my. My hunger for learning about writing songs.

Speaker A

00:03:04.400 - 00:03:10.160

And so were you just writing these for yourself or were you also. Was your band performing these songs, or were those kind of two separate parts.

Speaker B

00:03:10.160 - 00:03:37.020

Of your life at the time? In high school, I had a band. It was mainly a cover band, but we would throw in our originals here and there. I wasn't the singer in the band.

I was actually just the guitar player. But I would write these songs and bring them to the band, and we would, you know, every eighth or ninth cover, so we would.

We would throw an original and try to slip it past everybody. That was kind of the very, very beginnings of the thing. And in college, I played in a band that was all original, and I was writing for that band.

Speaker A

00:03:37.420 - 00:03:44.380

What changed for you musically, moving from kind of that high school band into forming your own band in college?

Speaker B

00:03:44.860 - 00:04:26.920

Not a whole lot, really. I mean, it was the same idea, just different people. I met a really great group of musicians.

It started off just kind of, you know, playing for fun, which is, I think, how. I think that's how music is meant. It's meant to be kind of a social.

A social thing and kind of a therapeutic thing, and which sometimes I think you lose sight of when you're doing it for a living. It's nice to be reminded of that and to try to keep it in that light at all times. But, you know, it was just fun. It was fun to go.

I was making a little extra. Extra beer money, you know, but it was. It was a lot of fun. Still is.

We were playing frat parties, you know, small bar gigs up in New England, where I went to school.

Speaker A

00:04:27.080 - 00:04:28.040

Where'd you go to school?

Speaker B

00:04:28.040 - 00:04:29.880

I went to Dartmouth College.

Speaker A

00:04:29.880 - 00:04:30.680

Oh, yeah?

Speaker B

00:04:30.760 - 00:04:42.840

Small college in New Hampshire. Yeah. Actually, I played football there, like £50 ago. Yeah, the winter is pretty brutal, but I gotta say, the summer and fall are both amazing.

Speaker A

00:04:43.480 - 00:04:47.560

As you got out of school then, was music going to be part of your life, or was it kind of.

Speaker B

00:04:47.560 - 00:06:59.580

Something on the side that's an interesting question. My. My path has been a little strange. Music was definitely the thing I was most passionate about and had been for a long time.

But I had a lot of school loans and. And the kind of the.

The general career path for the school that I went to was like, you know, work hard, study hard, party hard for four years in college, and then go get a job on Wall street making a ton of money. And I actually had a job offer doing that, working in investment banking.

And I deferred the job for a year, put it off for one year, and went and played in a band up there. My college band kept playing after we graduated. Eventually that band broke up, like four months later, and I sold my favorite guitar.

It was a 1966 ES335. And I bought a plane ticket to Europe and backpacked around for a couple of months with some buddies.

Actually, one of the two guys I was traveling with, Trevor is a current member of the band of Heathens that we play in. Old friend of mine. So I got back from that. I went and actually worked for one year making, you know, way too much money for a 23 year old.

But I hated my life. I hated the job. I hated. All I thought about was writing songs. And I had a notepad on my desk that I kept under a stack of other papers.

And, you know, I would be scribbling down lyrics and song ideas all day long. And when someone would walk by, I'd shove a stack of papers on top of the notepad and get back to work.

But I learned a lot about myself, I think, in that year, and kind of about what it means to follow your passion and what it means to actually not be doing your passion, but be being paid very well for it. And there's a lot of great things that come from that, from a security standpoint.

But for me, that didn't make up for the hole that I felt, you know, it just wasn't fulfilling. And so I quit that job. I got a bonus check. You know, after one year, I got my one year bonus. And literally the day I.

The day that money hit my bank account, I walked in and I said, I'm out of here. Within a month, I had moved to Austin and released an album. And that was. I think that was in 04. Been here ever since.

Speaker A

00:06:59.740 - 00:07:09.750

So when you. When you did that, was there any sense of, you know, at least in Austin there's a big tech scene as well as a music scene.

So if this music thing doesn't work out.

Speaker B

00:07:10.150 - 00:08:07.990

No, I. You Know, it's weird, actually now at this point, I'm at the age, I think maybe the point of no return. I've been doing this long enough.

But, no, there's no. Like, for me, there's no safety net. And, you know, maybe if I wanted to go get a job, maybe I could. I don't know. But I don't really think about it.

I don't think I could go work for somebody else. I enjoy kind of. Obviously, music is music is music. It's amazing, and I'm really fortunate to be able to pay my bills doing it. But, you know, it's.

There's no guarantee in music. If people stop showing up for your shows, then you don't make any money, right? And people stop buying your records.

So I try not to take that for granted. And if that were to suddenly end for one reason or another, I have no idea what I would do. But I don't.

I think I'd be doing something where I'm working for myself. I don't think I could go work for someone else, hopefully, you know, maybe I'd be on the street corner playing my guitar. I don't know.

But, you know, I don't know. Music right now is. I'm all in, you know, And I think everybody. Everybody in the band of Heathens is. Everyone's a lifer, you know, we're all in.

Speaker A

00:08:08.710 - 00:08:27.510

You brought up something that brings forth for me a word that in some ways, I think is overused right now, except that it seems to be coming from a very genuine place for you. And the word that jumps into my head is just an authenticity in being who you are.

I mean, it takes a lot to turn down and walk away from what is defined by a lot of America as success like that.

Speaker B

00:08:28.700 - 00:09:26.640

Maybe. I don't know. It wasn't hard for me. It was really easy, actually, because it didn't fulfill me. For some people, maybe money means more to them.

The fact that I've chosen a career in music now maybe says something about how I view money, or maybe that one year of my life defined how I view money. I don't know which one came first. A lot of it comes from how you're brought up. And my dad was a Navy fighter pilot, an airline pilot.

And for him, he grew up on a farm in Minnesota and had nothing. And he watched the astronauts walk on the moon and said, I want to be an astronaut.

And so he went down the career path, kind of following his passion, what he thought was the coolest thing. And he ended up. Part of that path is being a pilot. He ended up loving that, and so he kept doing it.

So, you know, maybe just following passion was something that was in me from childhood. I don't know. I think everybody has that. And for a lot of people, it's. The hardest thing is finding out what your passion is. That can be a hard thing.

And, you know, I don't. I don't have any advice on that, except I'm fortunate that I figured out what it is for me, you know?

Speaker A

00:09:26.720 - 00:09:31.280

As you ended up then in Austin, what was your musical path once you got there?

Speaker B

00:09:31.680 - 00:10:46.540

I actually moved here with the guys I was playing in with a band in college. We all moved to Austin together. Trevor Nealon was one of the guys who's now currently in the band of Heathens.

We moved here with that band, but I was also doing a lot of solo kind of folk shows, just me and my guitar, that band. Within a year, that band had broken up again, and everyone kind of scattered, except for me. I stayed here.

My wife and I, we were dating at the time, and I wanted to stick around Austin, both for. To be with her and because of the music scene.

And so, you know, I just started touring regionally around Texas, Oklahoma, Louisiana, and then just mainly with myself and my guitar. And I had one solo CD at the time, which I no longer sell. It was just kind of picking up a gig anywhere, anywhere that I could.

You know, you didn't even have to pay me at the time. I would just. I was, you know, telling people, hey, just let me open the show for 30 minutes. You don't have to pay me anything.

You know, I'll make my gas money selling CDs, and just. I was really hungry for gigs and for writing songs.

And I ended up getting a residency here in Austin every week at a club called Momos, which is a really great club. And that's where I met all the guys and the Heathens, and that's how that whole thing started coming together.

It was really kind of unplanned and organic.

Speaker A

00:10:47.180 - 00:10:49.980

The residency that you ended up with was a solo residency there?

Speaker B

00:10:50.220 -...

Summary

From 2012: Mark Durfield from the Bearfoot Hookers spills the tea on how his lifelong passion for music evolved into a creative journey filled with heartfelt stories and captivating melodies. He dives deep into his roots, sharing tales of strumming his first guitar at just two years old, fueled by the sounds of Elvis and gospel tunes from his mom. The conversation shifts to the band's musical influences, notably the Southern rock legends like Lynyrd Skynyrd, which shaped their signature sound while balancing a rich blend of rock and country vibes. As they chat, Durfield reveals the transformative power of singing lessons that unlocked his songwriting potential and led to their latest album, a reflection of personal growth and deeper themes that resonate with the struggles of life and faith. With insights into their collaborative process and the vibrant Athens music scene, this episode is a warm invitation to explore the dynamic world of the Bearfoot Hookers.

Show Notes

The Roots of Rock with Mark Durfield

In this episode, Mark Durfield of The Bearfoot Hookers takes us on a relaxed, reflective journey through the roots of his musical path. From childhood guitar strums to his deep dive into Southern rock, Mark’s conversation is filled with humor, nostalgia, and a whole lot of heart. This is the kind of chat you’d have with a friend over a cold drink, honest, engaging, and full of good stories.

Episode Highlights:

• Early Musical Beginnings:
• Mark's love for music kicked off at the age of two, when he first picked up a guitar.
• He reflects on the musical sounds of his childhood, from Elvis to gospel music, and how they shaped his early taste.
• The gritty, raw energy of 70s rock like Led Zeppelin & Cream was the spark that truly ignited his passion for music.
• A Southern Rock Journey:
• Mark shares stories about growing up with the wild sounds of rock & roll and how his family's musical tastes influenced his style.
• A funny moment about his mother’s reaction to rock legends like Jerry Lee Lewis, who didn’t exactly match her idea of appropriate music!
• The Southern rock culture and its enduring impact on his sound, which is integral to the Bearfoot Hookers’ unique vibe.
• Musical Identity & Genre Struggles:
• The paradox of loving rock while often finding himself writing country songs, a clash of musical worlds that Mark humorously embraces.
• He talks about the personal challenge of navigating genres and how artists often blend influences to form their true voice.
• The creative process of drawing from both rock and country, and how the mix has led to a signature sound.
• The Athens Music Scene:
• The importance of community within the Athens music scene, where Mark and his bandmates thrive.
• How collaboration plays a key role in their sound, with each member bringing their own strengths to the table.
• The way musicians build relationships through their art, creating music that speaks far beyond just the performance.
• Looking Ahead to New Projects:
• A peek into the future of the Bearfoot Hookers and what listeners can expect from their upcoming projects.
• The sense of natural progression in their music as they continue to explore new sounds, themes, and deeper layers of artistry.
• The Journey of Creativity:
• Mark reflects on the messy, beautiful evolution of his music career: how it’s been a series of unexpected twists and turns that led to his true artistic self.
• Emphasizes that every note played is part of a bigger journey, and how those struggles and discoveries ultimately fuel great music.
• The importance of embracing all your musical influences, no matter how contrasting they may seem.
• The value of community and collaboration in fostering creativity and pushing artistic boundaries.
• The evolving nature of musical identity—how it’s shaped by both struggles and breakthroughs.

Don’t miss this episode, filled with great stories, laughs, and a deeper look into the heart of Mark Durfield and The Bearfoot Hookers' musical evolution.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Toss a few in our Tip Jar!

• The Bearfoot Hookers
• You may also enjoy this 2015 conversation with T. Hardy Morris

Chapters

• 00:00 - Introduction to Country Fried Rock
• 05:24 - From Lessons to Lyrics: The Journey of a Musician
• 09:36 - The Journey of the Bearfoot Hookers
• 18:47 - The Athens Music Scene: Collaboration and Community
• 24:30 - Thematic Evolution in Music

Takeaways

• Mark Durfield's lifelong passion for music began at the tender age of two, showcasing an innate connection to creativity that shaped his artistic journey.
• The Bearfoot Hookers, while rooted in country sounds, draw significant influence from classic rock and gospel, reflecting a diverse musical upbringing.
• The collaborative spirit within Athens' music scene is robust, as evidenced by the band's interactions with talented local artists and their shared experiences.
• Durfield emphasizes the evolution of their song themes over time, transitioning from rowdy party anthems to more introspective and relatable narratives.
• The songwriting process for the band has matured significantly, with a focus on personal experiences that resonate deeply with listeners, including relationship dynamics.
• Recording in a home studio has allowed Durfield to explore his fascination with music production, giving him the freedom to craft songs in a comfortable environment.

Mentioned in this Episode

• Bearfoot Hookers
• Elvis
• Loretta Lynn
• Johnny Cash
• Led Zeppelin
• Cream
• Jerry Lee Lewis
• Merle Haggard
• Willie Nelson
• Hank Williams
• Lynyrd Skynyrd
• Bruce Springsteen
• Ty Manning
• John Tang
• Josh Skelton
• Will Thrift
• Olwen Kirsch
• Nucci Space
• Leah Calvert
• Hal Misseri
• Betsy Frank
• Adam Payne
• Ken Will Morton
• The Chasers
• Carla Lafever
• Andrew Nelson and the Shotgun Lovers
• Fester Haygood
• Marcus Thompson
• Scott Nicholson
• Dave Barbe

Recommended If You Like

country fried rock, Mark Durfield, Bearfoot Hookers, Athens Georgia music, country music influences, Southern rock, Johnny Cash, songwriting process, music collaboration, recording techniques, live music Athens, guitar lessons, music creativity, Barefoot Hookers songs, country music history, band dynamics, Athens music scene, acoustic performances, music inspirations, gospel music influences, barefoot hookers

Transcript

Speaker A

00:00:00.800 - 00:00:15.360

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Today on Country Fried Rock, we're talking with Mark Derfield of the Barefoot Hookers of Athens, Ga. Welcome.

Speaker B

00:00:15.600 - 00:00:16.320

Thank you.

Speaker A

00:00:16.320 - 00:00:17.280

Thanks for being with us.

Speaker B

00:00:17.360 - 00:00:18.000

Pleasure.

Speaker A

00:00:18.000 - 00:00:19.680

How'd you get into music originally?

Speaker B

00:00:19.840 - 00:00:53.580

Oh, gosh, I've been playing guitar since. There's actually pictures of me playing a guitar when I'm about 2 years old. I don't think I was playing very well, but I'm holding one.

But I started taking some lessons when I was an early teenager, and I'm not going to give away my age, but it's been more than 20 years since I've been playing way more and just, you know, I don't know. Music from a very young age has always been something that was inspirational and spoke to me and something that I can't get away from.

So no matter how hard I tried to concentrate on other things, music was always the thing that grabbed my attention. So I figured out a play.

Speaker A

00:00:53.740 - 00:00:59.740

So in those years between, you know, hanging with the guitar as a little guy and deciding to want to play, what were you listening to?

Speaker B

00:01:00.100 - 00:01:58.910

Well, of course, at a very young age, listening to whatever my parents had on the radio, which was they liked Elvis and some of the country music people like Loretta Lynn and things like that. So I heard a lot of that kind of stuff. My mother's a big fan of gospel music, so I heard a lot of gospel music growing up.

And then when I got old enough to start listening to things on my own, I mean, I was fascinated with the sounds of rock music from the 70s, which is about the time it was when I was a young fella. You know, I loved big guitar sounds and big guitar music. So.

But actually, the interesting thing is the first person I remember being being a fan of and still one of my greatest influences is Johnny Cash, and my dad had Johnny Cash records.

So I used to just wear those out, listening to them and pretending like I was playing along with them, you know, when I was a little guy and learned all the words, even the dirty words.

And so Johnny Cash was a big influence, but then got a little older and started listening to the stuff that was on the radio at the time, on the rock radio. So, you know, a lot of the British rock bands were influential, like, you know, the big sounds of Led Zeppelin and Cream.

Speaker A

00:01:58.910 - 00:02:01.330

And what kind of gospel did your mom listen to?

Speaker B

00:02:01.410 - 00:02:44.910

It was mainly contemporary kind of stuff. My mother's, bless her soul, she's a very religious Woman.

And her claim to fame in my eyes is she got to see Jerry Lee Lewis play one time in Birmingham. Both my parents are from Alabama and she saw Jerry Lee Lewis once and I think that's awesome. But she wasn't all that impressed.

I think it was a little too wild for her. She said he just made a lot of racket and bounced around and played with his feet. And I said, that's so cool.

That didn't impress her, apparently, but she grew up out actually in a country town in north Alabama in a small country church. And they didn't have a whole lot to do but sing, so. And my grandfather, who I didn't know very well, was a banjo player.

And so they would probably sit around and sing, sing some traditional gospel songs. And of course, growing up in a church, we learned a lot of those as well.

Speaker A

00:02:45.310 - 00:02:49.590

As you moved into choosing your own stuff and kind of the album oriented rock stuff at the time.

Speaker B

00:02:49.590 - 00:02:50.030

Yes.

Speaker A

00:02:50.190 - 00:02:52.350

As you started to take some lessons, what were you doing?

Speaker B

00:02:52.670 - 00:03:27.070

I really started playing country style. Even though I was listening to the rock music. The stuff that I.

It's funny and we'll probably talk about it more, but several of us in the band, really, the music we love to listen to is rock. And even. I mean, Ty Manning, the other guitar player, singer, kind of our front man is. He's an old metal head.

But the funny thing is when we sit around and try to make up songs and make up a record, it always winds up sounding kind of country. And so, you know, for whatever reason, when I started taking lessons, that's the kind of stuff I learned to play.

Some Merle Haggard songs and Willie Nelson songs and Hank Williams songs and things like that.

Speaker A

00:03:27.440 - 00:03:28.000

That is funny.

Speaker B

00:03:28.000 - 00:03:53.360

It's strange.

I love all that stuff, but it's not necessarily when I'm wanting to sit down and blow off steam and listen to some music, that's not necessarily what I go listen to. But yet that's a big part of my background. So that's the kind of stuff I really learned to play.

Maybe it was that I never really could figure out how to play like the big rock guys. Of course, you know, Led Zeppelin's music is when it's not just kind of a straight blues thing.

It's actually pretty complicated stuff and I'm not patient enough to sit and learn it. I learned to play what I. What I could play.

Speaker A

00:03:53.700 - 00:03:57.180

Was there any influence with Southern rock through the 70s and 80s there?

Speaker B

00:03:57.180 - 00:04:31.850

Absolutely. You know, growing up, all of us grew up in Georgia. I was a very young Teenager in the late 70s. And Lynyrd Skynyrd was a big influence. I loved it.

To me, they're the greatest American rock band there ever was. Just the big raw sound of it.

And the thing about their music and really Southern rock in general is I could understand what they were talking about songs. You know, obviously I have a lot of respect for guys like Bruce Springsteen, but I have.

I have a couple of good friends from New Jersey and I tell them all the time, I don't know what the he's talking about. I have never been on the New Jersey turnpike, just don't get it. But when Lynyrd Skynyrd sings about swamp music, I know what that's about.

Speaker A

00:04:32.010 - 00:04:32.650

Exactly.

Speaker B

00:04:32.650 - 00:05:15.260

And so, yeah, I mean, Southern rock, whether it was necessarily what I always went to, to listen to, it's something that's prevailing influence just because we heard it all the time and so much. And it was such a big part of growing up in the south during that time.

You know, you go to New Jersey and Bruce Springsteen is the Lynyrd Skynyrd of that region.

I've had conversations with my friends over beers talking about these things and how those artists are so intertwined with the environment they came up in. Yes, and that's probably true for all of us, but that those of us are from the same area, get it.

And if you're not from the area, maybe you think it's interesting, but you don't really get it.

I mean, that's my experience with Bruce Springsteen, who's a fabulous artist and I love his music, but I just sometimes just don't get what he's talking about.

Speaker A

00:05:15.260 - 00:05:23.650

You know, as you were taking these first lessons and it was coming out countryish, twangy, ish. What led to either playing out or writing stuff?

Speaker B

00:05:24.200 - 00:06:32.360

Probably writing stuff came first. I started writing pretty early, but I never wrote anything that was any good until probably 10 years ago when I started really playing out more.

I mean, I played a lot of years just sitting around. I'm actually. I'm fascinated with the recording process. So I spent a lot of time holed up in a room in my house with all my instruments.

And as soon as the four track Porta Studios came out, I went and got one of those things and just started playing around with recording and learning, overdubbing. And that's when I started crafting songs. But I wasn't writing lyrics yet. I was really just coming up with arrangements and compositions and.

And, you know, made a couple cassette tapes and handed them out to a few people, and. But, you know, unless you have songs, that doesn't do much. So I started one of my anniversary gifts from my wife years ago.

I'd been complaining to her, like, you know, I play guitar.

I'm okay at that, and I love playing with people, but unless I feel like I'm never gonna really get an opportunity to do much unless I sing, and I don't know how to sing, so why don't you take some singing lessons? And I said, well, all right. I don't. Okay. I don't know where you got to do that, but. And so she did a little research, and she found this.

This wonderful lady in Athens, Georgia, named Olwen Kirsch, who was an opera singer.

Speaker A

00:06:32.520 - 00:06:33.000

Wow.

Speaker B

00:06:33.560 - 00:06:44.400

But had a lot of students that were, you know, wanting to sing pop or country or rock music or whatever. And she, you know, she was very, very open to that. But the fundamentals of singing are the fundamentals of singing.

Speaker A

00:06:44.400 - 00:06:44.760

Right.

Speaker B

00:06:45.000 - 00:08:09.460

So I took a handful of lessons from her just to get an idea of, you know, how you. How you phrase things, how you handle the breathing. And it was amazing.

As soon as I started to get comfortable with the idea of singing and what my voice sounded like, writing songs became easy. It's like being able to sing gave me a voice and an idea of how to take music beyond just banging on a guitar and actually creating songs.

So that's when I started sitting down and writing. And that's about the same time that I ran into Ty Manning, who's the other guitar player, singer, and de facto leader of the band.

He was actually working. He's a high school teacher. He teaches art, and my wife was teaching at the time.

She introduced us, and we started sitting around writing songs together and recording stuff. And then he introduced me to his buddy John Tang, who is our bass player.

And so the three of us started sitting around writing and recording some stuff. And then we. John lived upstairs from a guy that played drums, so Josh Skelton joined the band.

We started playing, and, you know, that's kind of the history. But writing happened after I learned how to sing. When you're writing songs, you sit around with a guitar, or at least I do.

I sit around with a guitar and I sing, and it works or it doesn't work, and you keep tweaking it. But until I was comfortable with what that sounded like, I wasn't comfortable with writing.

Dear Olwen Kirsch, I owe whatever good or bad's happened to me since to her. She passed away, unfortunately, a few years ago, but wow.

Speaker A

00:08:10.140 - 00:08:16.460

You said that you were fascinated with the recording process and would goof around with your four track. Has that