Country Fried Rock

Summary

From 2012: Derek Hoke joins the Country Fried Rock crew for a chat that dives deep into his musical journey, with a special spotlight on his latest record, Goodbye Rock and Roll. He kicks things off by reminiscing about his punk rock roots, where he first caught the music bug, strumming guitars and belting out catchy tunes about World War III, classic teenage angst, right? As the convo unfolds, Hoch reveals how moving to Nashville was like jumping into the deep end, forcing him to shed his old skin and explore a more authentic sound that vibes with the city's rich musical tapestry. He spills the beans on the creative process behind his new album, highlighting how collaboration with pals like Dexter Green led to a unique blend of country and blues, all while keeping it refreshingly simple and relatable. With a wink and a nod, Hoke also shares the joy of fostering a community of artists eager to showcase their original tunes, making Nashville not just a backdrop, but a vibrant stage for fresh talent.

Links

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

• Derek Hoke
• Derek Hoke on Bandcamp
• You may also enjoy this conversation with The Famous from 2012

Show Notes

Finding His Footing in Punk and Beyond

• Derek Hoke looks back on his early days playing guitar and piano with a punk rock edge

• Shares memories of chasing loud, fast music and the energy that came with it

• Talks about the shift from covering songs in smoky bars to writing his own stories through music

The Move to Nashville and a Musical Reset

• Recalls the moment he knew it was time to take his craft seriously and move to Nashville

• Describes the challenges of carving out space in a city filled with talent

• Realizes that authenticity resonates more than nostalgia-driven covers

Birth of the ‘Quiet Billy’ Sound

• Introduces his unique musical identity, a blend of country cool and bluesy rhythm

• Talks about stripping songs down to their essence and letting the lyrics breathe

• Shares how simplicity became a guiding force in his creative process

Goodbye Rock and Roll and New Creative Horizons

• Offers a behind-the-scenes look at the making of his latest album

• Describes the balance of upbeat energy and emotional depth in the new tracks

• Reflects on how the album captures both personal growth and musical exploration

Collaboration, Identity, and Creative Clarity

• Opens up about finding his voice after years of playing other people’s songs

• Talks about the push and pull between reinvention and staying true to his roots

• Highlights the joy of collaboration and how it keeps the process fresh

Connection Over Perfection

• Emphasizes the power of live shows, from cozy coffee shops to full-band gigs

• Shares how performance is less about polish and more about presence

• Stresses the importance of real connection with listeners and shared moments through music

Why This Episode Matters

• Derek’s story is about evolving without losing heart

• He brings humor, humility, and clarity to the winding path of a working musician

• It’s a reminder that sometimes the quietest songs say the most

Tune in to hear Derek Hoke reflect on his musical journey, the making of Goodbye Rock and Roll, and why honesty always wins in the end. Available now wherever you get your podcasts.

Chapters

• 00:09 - Introducing Derek Hoke
• 03:25 - Finding My Voice: The Journey to Songwriting
• 07:45 - The Evolution of Sound: From Rock to Country
• 12:54 - The Journey of New Music
• 13:50 - Exploring Musical Influences
• 18:31 - The Beauty of Vinyl and the Music Experience

Takeaways

• Derek Hoke's journey into music began with an early fascination for guitars and pianos, leading him to join punk rock bands where he discovered his passion for songwriting.
• The transition to Nashville was a pivotal moment for Derek, as it challenged him to refine his identity as a songwriter amidst a sea of talented musicians.
• Derek emphasizes the importance of live performances in shaping his music, revealing that direct audience feedback is crucial for artistic growth and self-discovery.
• He describes the unique atmosphere of Nashville's music scene, where collaboration and support among artists thrive, creating an environment conducive to creative exploration.
• Derek's latest album, Goodbye Rock and Roll, showcases his evolution as an artist, blending various influences while maintaining a distinctive sound that resonates with listeners.
• The conversation touches on the significance of simplicity in songwriting, highlighting how embracing straightforward narratives can lead to a more genuine and relatable musical experience.

Mentioned in this Episode

• Nuci's Space
• Country Fried Rock
• Full Tones
• Steve Soto
• Twisted Hearts
• Raconteurs
• Chris Scruggs
• Lyle Lovett
• Jim Lauderdale
• Eric Brace
• Peter Cooper
• Jason Isbell
• Dexter Green
• Florence
• Nashville
• Columbia
• Spartanburg
• Charleston
• Magic Sam
• Sam Cooke
• Corey Chisel
• Patrick Keeler
• Jack Lawrence
• Collective Soul
• Ricky Skaggs
• Luke Bullo

Recommended If You Like

country music, Nashville musicians, Derek Hoch, Goodbye Rock and Roll, songwriting process, creative inspiration, indie music scene, live performance, music feedback, punk rock origins, country fried rock podcast, music collaboration, acoustic guitar, songwriting identity, music influences, R&B in country, album production, mental health in music, music samplers, Southern blues music

Transcript

Speaker A

00:00:00.800 - 00:00:18.680

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 Derek Hoch with his last record, Goodbye Rock and Roll has some brand new music for us this year. Looking forward to chatting with him today. Welcome, Derek Hoch.

Speaker B

00:00:18.680 - 00:00:20.000

Hey, Sloan, how are you?

Speaker A

00:00:20.080 - 00:00:34.940

Great. Thanks for being with us.

Yeah, I had the opportunity to hear you play a few times and the first thing I heard was that last record of Goodbye Rock and Roll, which was a great treat, but the bigger treat was getting to hear you a few times. Nashville over the last couple years. How did you get started playing music?

Speaker B

00:00:35.340 - 00:01:05.990

At an early age, I could hear hear music and started kind of picking up guitars and pianos and could pick out melodies on these instruments that I didn't know how to play very basic things and kind of kept learning the guitar and got okay at it and joined little punk rock bands and, you know, started writing my own stuff, started learning how to sing and play at the same time, which was very difficult at the time. Basically what happens is I fell in love with all of it and I couldn't stop doing it. I couldn't wait to do it. That was. You got the bug.

You got the bug.

Speaker A

00:01:06.070 - 00:01:09.590

When you were in your early punk rock bands, were y' all writing originals at that point?

Speaker B

00:01:09.750 - 00:01:23.750

Yeah. The first song I ever wrote was a song called say Goodbye, Punk rock song about like, World War III and whatever Reagan era paranoia was going on.

I was very proud of it. Like, it was catchy and fast and I wrote it.

Speaker A

00:01:24.190 - 00:01:25.230

Were you gigging then?

Speaker B

00:01:25.230 - 00:01:31.790

Yeah, we played all the little VFWs, church basements and wherever we could play and just had fun doing it.

Speaker A

00:01:32.190 - 00:02:00.810

Several great musician friends of Country Fried Rock generously donated songs for a free music sampler.

Download it at noise trade.com countryfriderock 19 songs to help raise awareness and money for Nucci Space, a nonprofit serving the mental health needs of musicians in the Athens, Georgia area.

Find out more about Nucci's at n u c I.org and so at what point did you move toward whatever form of music you were doing of like, this is what I'm going to do with myself.

Speaker B

00:02:01.210 - 00:02:26.450

That came, like, later in high school, starting to write my own stuff and not really having an identity though, with it. Like, I wrote all this music but, you know, one song that's like an RM song, some other songs on like a Chris Isaac song or something.

It was probably around my early 20s where I was like, I started kind of like, oh, that's a Derek Hoax song, you know, or I'd like. I like. It didn't sound like I was just totally ripping off somebody else.

Speaker A

00:02:26.530 - 00:02:30.530

Were you doing a lot of live performance leading up to kind of finding your own voice?

Speaker B

00:02:30.770 - 00:03:02.220

Yeah, that's how you find it. You have to do it in front of people to kind of get reactions and feedback.

Or you're just in your room thinking you're amazing, you know, playing and playing and figuring out what works and where it works, what to play at the loud, smoky bars and what to play at the quiet, you know, more intimate places, and how to get your own music in there amongst the Billy Joel covers or whatever it is. You want people to ask you about your music. Like, hey, what was that song about? Whatever. Like, oh, that's one of my songs. Right.

That's a huge compliment.

Speaker A

00:03:02.220 - 00:03:06.020

Early on, were you on the road or were you working from a home base?

Speaker B

00:03:06.100 - 00:03:08.260

Oh, that was all in Florence, South Carolina.

Speaker A

00:03:08.260 - 00:03:09.620

There were that many places to play?

Speaker B

00:03:09.780 - 00:03:25.170

Yeah, that's all I did. I played guitar with all kinds of people and got to be an okay guitar player and sang and played and did my own stuff, either solo or with a band.

You know, go to Columbia and Spartanburg and Charleston, stuff like that. But mostly around Florence.

Speaker A

00:03:25.890 - 00:03:27.970

What led to you moving on with your music?

Speaker B

00:03:28.370 - 00:04:18.980

I felt like I wanted to do more, and I had more to kind of figure out about my own writing and where I was going with it. And then I moved to Nashville, and within the first week, I knew whatever I was doing in Florence was not going to work here.

And so I got my butt kicked a little bit, which was the best thing ever.

And I went through a lot of, you know, self discovery and trying to figure out who I was as a songwriter and a performer, because gone were the Smokey Bars cover songs. Everybody's listening, you know, not ripping it apart or dissecting it, but they want to hear what you have to say. I didn't have much to say.

You know, I was too busy kind of rocking and rolling. It would just kind of fly over people's heads and I'd get away with it. Or here they won't, you know, they want to hear a complete thought.

Had to go back to the drawing board for a couple of years.

Speaker A

00:04:19.620 - 00:04:22.900

Did you work with any colleagues to develop where you wanted to be?

Speaker B

00:04:23.140 - 00:05:24.660

I had some friends. I mean, mostly alone, but I had a lot of friends to bounce ideas off of.

And I had a lot of brick walls going through, like, an identity crisis with, you know, drum machines and with Acoustic guitars and trying to be very clever with all this stuff.

And I finally just sat down one day and started playing really quietly, some bluegrass music, very Mabel Carter kind of stuff, and singing very quietly.

And all of a sudden, this whole new thing started happening where instead of me trying to be loud and try to captivate the room or, you know, get everybody's attention, I could now kind of sing very politely, if you will, and kind of like, oh, well, that's nice. You know, get people's attention a different way, but the same. The outcome is the same.

So I started doing this really kind of sweetly singing croonery kind of stuff, and everybody loved it. And I loved it, too. It wasn't contrived in any way. It was just more like, oh, I just shut the hell up and sing and write some simple songs.

And that kind of started clicking pretty easily after that. This is Derek Hoch.

Speaker A

00:05:24.740 - 00:05:33.940

Kind of the plus and the minus of being in Nashville is that there are so many great writers, players. What helped you really solidify that?

Speaker B

00:05:34.460 - 00:06:03.660

Playing all the time here and not feeling like there was any competition or I had to do anything specifically to fit in rather than be myself playing out as much as I could and playing with different musicians and getting a sound together.

Started using a lot more upright bass, you know, brushes on drum sets and stuff like that, kind of developing the overall tone of the music, where when the band comes in, it's not Tom Petty's backup band. It's this quiet little shuffle and easy, breezy. I started calling it Quiet Billy.

Speaker A

00:06:04.540 - 00:06:05.820

Billy, that's a great name.

Speaker B

00:06:05.980 - 00:06:19.100

And I'd never really heard anybody do it. And so, yeah, people just started kind of gravitating or getting into it, and we started recording it.

You know, record 30 songs and get 10 pretty good ones out of it, you know, and go. Just keep playing them as you kind.

Speaker A

00:06:19.100 - 00:06:29.570

Of found this sound that was working. And with that much live playing, you were getting a lot of pretty quick feedback, at least from the audiences who were there.

What was your recording looking like? Was it kind of song by song just to see what.

Speaker B

00:06:29.640 - 00:07:12.209

What you had?

Yeah, just pieced together, you know, songs I had written when I first moved here, re recorded or reinterpreted, and songs that were brand new that were these kind of throwback country songs. I just write pop songs. That's all I really ever knew how to do was write melodies and stuff like that, or catchy melodies.

Some of these songs needed fiddles and steel guitar and all that stuff. They were begging for that stuff. And so Then it became like, very. Like a mystery. Am I playing country music now? I don't think so. It sounds that way.

And I didn't mind that at all either, because it was country music like, I'd never really listened to. Maybe my grandfather did, but I'd never heard anything like this. So I know I didn't invent anything, but it sounded all. It sounded very unique to me.

Speaker A

00:07:12.770 - 00:07:15.970

What you were writing was expressing the right feel.

Speaker B

00:07:16.450 - 00:07:42.990

Yeah, I mean, we're all writing songs about the same things, you know, some girl and some town and all that stuff. I think the simpler. I started stating all of those things, it became liberating to just be so simple.

Not think about anything too much and not worry about what somebody's going to think about these songs.

But kind of writing them for myself and being comfortable enough to, like, I can't wait to play them for people, because I'm pretty sure they're going to like them.

Speaker A

00:07:43.470 - 00:07:46.750

30 songs that were narrowed down to 10. Is that what led to Goodbye Rock and Roll?

Speaker B

00:07:46.830 - 00:08:14.410

Yeah, Goodbye Rock and Roll was me and my buddy Dexter Green, who produced it, kind of whittling away. I basically play. I had. We'd record some of it. Someone was like, well, that's way too George Jones, not me. Or one would be just way too sad.

And, you know, like, man, that's a little much. We kind of kept most of them kind of upbeat and fun, you know, some of the crowd pleasers.

Most of the stuff that represented me instead of, you know, trying to be all over the map with it.

Speaker A

00:08:14.570 - 00:08:16.170

Did you intend to work with Dexter?

Speaker B

00:08:16.250 - 00:08:27.170

Yeah, totally. He's from Florence as well. But we'd never. And we were in that punk rock band together back in the day.

It was the first time we had worked together and, you know, since we were teenagers then.

Speaker A

00:08:27.170 - 00:08:35.010

Having someone on a creative level like that that you also have history with, how did that help in ultimately getting to what became that record?

Speaker B

00:08:35.330 - 00:09:02.630

I think we knew each other so well that we could talk to each other very openly and fight and, you know, debate things. I mean, ultimately he was the boss and I totally trusted him. But, yeah, I think there's. The dialogue was very natural.

It wasn't two strangers in a room trying to be creative. You know, it was just two guys hanging out, and I'm kind of writing all these songs that he hadn't heard.

And, you know, we're both kind of flipping out over the people that wanted to be involved with the project and all these friends that we'd made.

Speaker A

00:09:03.110 - 00:09:06.470

Which of your friends Were you able to bring in that you were thrilled to be able to bring in?

Speaker B

00:09:06.790 - 00:09:31.160

Everybody we asked said yes. I kept calling it like coffee shop favors or it's just people that we always see everywhere.

And then all of a sudden I

Summary

From 2012: Brian Venable of Lucero drops in on Country Fried Rock to dish about the vibrant family vibe that permeates the music scene, especially with his band’s annual Family Picnic event. He dives deep into how this gathering isn’t just a concert; it’s a reunion of eclectic bands, each with their own unique sound yet tied together by a shared spirit of creativity and camaraderie. He reflects on his journey from a punk rock hobo kid to a seasoned musician, attributing much of his musical roots to his dad, who was a musician on Beale Street. As they chat, they explore the evolution of Lucero's sound, touching on their blend of rock and country, and how the addition of new members has sparked fresh creative energy. The conversation is a warm, entertaining dive into the heart of music-making, where experimentation meets tradition, and where every note is a step in a never-ending journey of artistic growth.

Links

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

• Lucero
• Lucero on Bandcamp
• You may also enjoy this conversation with Margo Price from 2012

Show Notes

In this episode of Country Fried Rock, we welcome Brian Venable of the beloved band Lucero for a warm, reflective, and deeply human conversation about music, roots, and the ties that bind creative souls together.

Highlights from the conversation:

• Musical roots run deep:
• Brian shares how his dad’s hustle on Beale Street and deep musical background shaped his early exposure, even as Brian leaned more toward punk than blues.
• Teenage rebellion with heart:
• Hear about Brian’s early pushback against his father’s influence, his dive into punk zines and poetry, and how that spirit still fuels his creative life today.
• Lucero’s evolution:
• From garage beginnings to a band with a devoted community, Brian reflects on Lucero's growth and what it means to be more than just a group that plays songs.
• A family picnic of bands:
• Brian paints a vivid picture of the interconnected world of bands—those that may not always hit the charts but share history, stages, and mutual respect.
• Genre is fluid:
• Punk, country, and everything in between—Brian breaks down how Lucero's sound isn't boxed in, but shaped by emotion, experience, and experimentation.
• On building creative community:
• More than fame, Brian values the friendships and shared stages that form a kind of musical family tree, where influence flows freely across acts and time.
• Candid and comforting:
• A conversation filled with honesty, humor, and heart—perfect for anyone who’s ever wrestled with the push and pull of expectations versus passion.

Listen in for a rich blend of storytelling, music history, and the kind of reflection that reminds us why we fall in love with bands like Lucero in the first place.

Chapters

• 00:09 - Introducing Brian Venable of Lucero
• 01:06 - The Journey into Music
• 04:48 - The Evolution of a Band
• 12:07 - The Evolution of Live Performance and New Music Release
• 19:40 - The Intersection of Music and Personal Choices

Takeaways

• The podcast dives deep into the creative process of Brian Venable from Lucero, exploring how his family influences shaped his passion for music, particularly his father's musical roots in Beale Street.
• Brian shares his journey from a punk rock hobo to a band member, emphasizing the evolution of his musical style and the collaborative nature of songwriting in Lucero.
• The discussion highlights the importance of community within the music scene, particularly through events like the Lucero Family Picnic, which fosters connections among various bands and artists.
• Venable's reflections on the challenges and rewards of maintaining a long-lasting band lineup reveal insights into the music industry's dynamics and the evolution of musical identity over time.

Mentioned in this Episode

• Lucero
• Glossary
• Dramatic
• Sub Pop
• Revelation Records
• Nuci's Space
• Hearts of Palm

Recommended If You Like

Country Fried Rock, Lucero band interview, Brian Venable music, independent musicians, songwriting process, punk rock influences, Memphis music scene, Family Picnic festival, creative inspiration, band dynamics, touring experiences, music collaboration, rock and roll evolution, R&B and country fusion, music industry insights, mental health for musicians, Nucci's Space, music samplers, underground music scene, live music performance.

Transcript

Speaker A

00:00:00.800 - 00:00:13.280

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 Brian Venable of the band Lucero. Welcome, Brian.

Speaker B

00:00:13.280 - 00:00:14.000

How you doing?

Speaker A

00:00:14.080 - 00:00:15.919

Doing great. Thanks so much for being with us.

Speaker B

00:00:15.919 - 00:00:17.200

Oh, man. Thank you for having me.

Speaker A

00:00:17.200 - 00:00:24.160

Absolutely. I've always enjoyed your music. And I'll tell you when y' all came up again, interviewing some bands who played the Lucero Family Picnic.

Speaker B

00:00:24.320 - 00:00:25.200

Which bands?

Speaker A

00:00:25.200 - 00:00:27.280

Well, it started, I guess, with Glossary.

Speaker B

00:00:27.360 - 00:00:29.440

Yeah, I thought he played Fellow steel with us.

Speaker A

00:00:29.440 - 00:00:34.700

It was that connection, and then talking with some of the guys from Dramatic, and it was like this whole small family thing.

Speaker B

00:00:34.860 - 00:00:58.980

We stopped doing it for a little bit, but we're bringing it back.

But that's part of the reason why Family Picnic to me was so important, was there's this kind of weird little family of bands that tour constantly that don't sound the same, but are the same ilk. Maybe, for lack of a better word, I wanted a Sub Pop or Revelation Records or. I don't know, I thought it'd be cool to have a yearly get together.

All the bands that tour a whole lot that aren't on the radar necessarily.

Speaker A

00:00:58.980 - 00:00:59.300

Right.

Speaker B

00:00:59.300 - 00:01:01.450

But that's cool that everybody's talking like that.

Speaker A

00:01:01.610 - 00:01:08.170

Yeah, it was very cool. It's always nice to see how that kind of family tree overlaps. How did you get into music as a kid?

Speaker B

00:01:08.170 - 00:02:01.050

My father. I mean, he's a musician down Beale Street. I mean, we're shoe repairmen by trade. Whatever.

Even when I was little, he was always trying to get us to play music. And then when he got to teenage years, he wanted, you know, let's have a family band. I spent my 20s traveling around, being a punk rock hobo kid.

All I wanted to do was write poetry or zines or, you know, just. I didn't want to play music. But he was like, I don't understand it. You learn a bass and learn three scales.

You can play music, make money, and you can try, you know? Yeah, yeah, yeah. Oh, man. Okay, okay. And then it got to the point where one day I was like.

It was like, I wanted to learn to paint, too, but I was like, I want to start a band. Just say I did kind of thing. And I don't know, we.

I don't know if you've seen it on YouTube or not or heard about it, but we played the Fillmore last year, and I flew him out, and we brought him out on stage. It was literally all he ever talked about was playing The Fillmore when I was growing up. So I brought him out to play.

And there's all kinds of influences. My mom listened to music and everything, but my dad live and breathe music. It has been a constant in my life.

Speaker A

00:02:01.210 - 00:02:04.570

When you were doing the zines and stuff, what kind of punk rock was talking to you then?

Speaker B

00:02:04.650 - 00:02:32.580

Oh, man, I was a dirty little Memphis Krusty type kid trying to Rorschach, Black Flag type stuff. Pop out with a local band, his heroes. Gone was a local band. It was life's Blood. It was, it was pretty crazy. Nothing really melodic.

Let's just say it was pretty much my dad, you know, hate your country music type stuff.

A lot of, you know, bands that have put out a seven inch, go on tour for two months, play the 10 people a night and come home and go back to college or get real jobs or.

Speaker A

00:02:33.140 - 00:02:37.780

So then as you move towards finally saying, yeah, I'm gonna start my own band, where did that head for you at first?

Speaker B

00:02:37.940 - 00:04:04.820

One of my best friends, Matt Bradley, who's in tears don't matter much is Matt Bradley with the broken teeth. He moved away and sold me his Basement 115 cabinet and basement head. And my dad gave me some broke down guitar that I still wish I had.

Gil S70D, whatever. Looked like a battle ax. It was amazing. Yeah, two octave next guy and let Slobber Bone play one. Before I even started the band.

I mean, I talked about it for a while, but there was that whole learn to play guitar hurdle. I would go down. This is before the Internet. I mean, it wasn't before the Internet. It was before we had the Internet.

I would go down to the library and get all the song books of songs that I liked. Was like, okay, I like. And I would Xerox them 7 cents each. And I would go home and I wouldn't learn the songs, but I would learn the chords.

Kind of taught me to change like, oh, C day or something. It was just. I still don't know any lyrics to anything really, you know. Luther was the only band I've ever played in.

Started playing guitar to play in it. Then when I found Ben, I mean, that was the funny part was I was like, man, I got all these songs. He was like, cool, so do I.

He came over to practice. He had three full songs with words. And I was just like, yeah, I was just like, I have this part that goes do do do do, you know? And that's about.

That was the song kind of thing. And he stuck with me. But he would leave and I would get books back out like, or the videos, like pentatonic scale.

In the old days, people would laugh and be like, your sense of space is so amazing. And it just realistically was. I don't know where to go next, so I'm just gonna hang here. And it kind of created a style.

Hey, this is Brian Venable from Lucero. You're listening to Country Fried Rock.

Speaker A

00:04:04.980 - 00:04:07.700

That whole music is the space between the notes and all of that.

Speaker B

00:04:07.780 - 00:04:47.839

Yeah, well, I didn't. I was just like, oh, this sounds right. That's like Jim Dickinson would always laugh.

He's like, I stay up night trying to figure out how you start a song. And man, it's interesting how he's playing in A major and you're playing in A minor.

And at the time I had no idea there a distinction, you know, I mean, literally. My dad played music. He tried to teach me growing up. I fought it and that kind of stuff.

He showed me some, you know, the big cowboy chords, kind of the big open ones. But learning to play with Ben, he had his own style of core. I've learned to play guitar to Ben Nichols. Chord structures, right or wrong.

We were married forever, guitar wise. I wanted to start a band and then it was me and Ben and I just started finally roping people in and they'd play a show or two and then quit.

Initially, Roy and John, we jailed.

Speaker A

00:04:48.400 - 00:04:58.000

Like any band with a lot of players, there's been some change over time in terms of band lineup, but the core of you all have stuck together through a lot of other changes as well.

Speaker B

00:04:58.320 - 00:05:43.850

I quit in 2003. That was me just my dad was sick, I was tired. I was, you know, I just didn't know when you start.

That's the other coming from the punk rock, starting a band, you think it's us versus the world and you know we're gonna do this and there's no compromise.

And when you really, what you're doing when you start a band is fun and four other lightly uneducated slackers and you're starting a small business and they're compromised and whatnot.

So for one year I was out of it for a while, but then when I came back, I was like, oh, I wasn't doing anything else and I love doing this and whatever, but it's pretty awesome. I mean, you don't see a lot. You know, you got your U2s and your chili Peppers and whatever.

Maybe Rolling Stones type bands, but a lot of bands, you don't see that there's not you know, the constantly Spinal Tap revolving drummer or bass player situation. So we've been real lucky as you.

Speaker A

00:05:43.850 - 00:05:47.170

All are coming to anything new. What's the process for you as a group?

Speaker B

00:05:47.330 - 00:06:32.640

Song structure. While I've been the lyricist, I think in the beginning you put all four of us in a room.

We'll all argue about it, but you don't have all four of us, you have me. But in the beginning, Ben would show up with, I have these songs with words and music completed.

And we would just flesh them out, write our parts and everything. So he was definitely the songwriter. No taking that away from him.

But nowadays he'll show up with a riff or a piece of and like him and Roy will work out tempo and we start adding components to it. And for us it's been a 14 year, slow growing process.

I think for the rest of the world, they've seen it in eight albums, so it might be a little bit more abrupt. When we played by ourselves forever, we knew what we could do.

I'm going to play single notes, Ben's going to play chords, John's going to stay underneath it. Roy's going to do some interesting drum patting.

Speaker A

00:06:33.520 - 00:06:34.120

There you go.

Speaker B

00:06:34.120 - 00:09:08.820

Then we get Rick. When Rick started playing with us, it's all of a sudden you're just like, ooh, we can do boogie woogie, you know, or we can do Lighter Shade of Pale.

We can do anything. It just started to get to where whatever we came up with, we were becoming more capable.

Somebody in the band could do it and the rest of us could catch up, you know what I mean? And that's what the advent of the horns or the addition I had then, it's the same thing. It's like somebody.

I was joking nowadays, somebody in Minneapolis on the Doorman told us, or we overheard it. I don't know how it came about, but somebody asked the doorman at First Avenue was like, who's playing tonight? He's like, how some met this R B band.

We were just like, yeah, awesome. Yeah. That's one of those things where we didn't quite realize it. People like, oh, y' all aren't country enough. Or I miss the old sad country songs.

And when we added the horns, I think we unintentionally and unwittingly maybe became or were trying to become an R B band, which is another Memphis thing. You can be country in army, you know, like, it's not so line drawn in the sand.

But I think that's where trying to explain that, oh, we're a Country band with horns. We're just a rock and roll band, you know, which. The rock and roll lets you do anything. That's the freedom of rock and roll.

Whereas if you were to say, hey, I'm a countryman, you wouldn't have perimeters you could not deviate from. Or if you're like, I am a soul band, but just slowly added people, the awareness has dawned on us that we're all getting better as musicians.

I've been doing this 14 years. I can play guitar better now than I could in 1998. You know, you can't help but get better.

And with the addition of these crazy musicians that are have joined us, it gets fun almost. You just start.

You're practicing and you're laughing like, we still might do it, but we tried to cover Space Trucking by Deep Purple, and we couldn't quit laughing, so we never could finish the song. But not in a, like, bad laughing, but just like, this is so awesome.

And just do, do, do, do do space trucking, you know, and you're just like, this is awesome. If we could actually do this, it'd be amazing. I picked the song but didn't get to play on it because the studio was so small.

But when we covered the David Bowie Modern Love, half the reason you were like, man, we got the horns. We can do Modern Love, you know, and it's fun. But that's the thing.

Like, Todd just played tambourine because he couldn't fit the pedal steel in there. I was like, man, half the time they tell us we're recording these things, they don't tell us that they're actually videoing them too.

So I didn't realize they videoed it because I didn't go up there. But I went up there and was like, man, I don't have to cram in here. There's enough instrumentation that we can be Lucero and still record this.

You know, we don't need two tambourine players. So, yeah, I got a lot of phone calls. Like, the day it came out, like, where are you? I was like, I didn't know they videoed it. Yeah, I was asleep.

It was awesome. But being able to pick songs like that to where you can actually be like, we can do a horn song and have horns actually on it.

Speaker A

00:09:08.980 - 00:09:14.740

By defining yourself as a rock and roll band, you have more options. I mean, nobody thinks twice about a gospel choir backing rock and roll.

Speaker B

00:09:14.740 - 00:09:57.300

Yeah, well, I mean, the stones did it 40 to 50 years ago. You know what I mean?

Like, it's it's getting to that point now where people want us to be what they want us to be, but in the end, you...

Summary

From 2012: Bonnie Whitmore spills the beans on her music journey, revealing how her parents essentially crafted a band with their kids as the stars. She hilariously recounts her early days, starting on the fiddle and swiftly moving to the bass, where she found her groove at just five years old. The real kicker? Bonnie reflects on the quirky interpretations of classic songs she learned from her dad, which led to a surprising moment of musical revelation when she discovered he’d been singing the Beatles wrong all along. With roots steeped in a rich tapestry of influences, from Chuck Berry to Willie Nelson, she dives into how these experiences shaped her sound and songwriting. As she gears up for a new album, Bonnie’s journey is a vibrant blend of humor, heart, and the undeniable magic of music, proving that sometimes the path to creativity is as winding as the tunes themselves.

Links

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

• Bonnie Whitmore
• Bonnie Whitmore on Bandcamp
• You may also enjoy this conversation with Brett Detar from 2012

Show Notes

Musical Roots and Family Bonds

• Bonnie shares stories from her childhood growing up in a musical family

• Talks about how her dad turned the family into a band and handed her a bass at a young age

• Remembers learning songs that her dad slightly rewrote without realizing it

• Laughs about discovering the "real" lyrics to classic tunes later on

• Highlights early influences like Chuck Berry and The Beatles and how they shaped her musical lens

The Power of Storytelling Through Song

• Explains how storytelling became central to her approach as a performer and songwriter

• Describes music as a way to connect generations and share lived experiences

• Offers a window into the kind of songs that leave a lasting emotional impact

Life in the Austin Music Scene

• Reflects on her move to Austin and how the city helped her grow creatively

• Describes the energy and support of the local music community

• Talks about what makes Austin special for working musicians

Real Talk on the Modern Music Industry

• Gets honest about the challenges of touring, making a living, and staying afloat as an artist

• Discusses how streaming has shifted the music economy and what that means for indie musicians

• Emphasizes the need for community and mutual support among artists

Creative Process and Looking Ahead

• Shares how her songwriting continues to evolve with her personal journey

• Teases future projects and new themes she’s excited to explore

• Stresses the importance of staying open to growth and change as an artist

Why This Episode Hits Home

• Bonnie brings humor, warmth, and honesty to every story

• Her experiences feel familiar, whether you're a musician or just someone who finds comfort in a great song

• The episode is like catching up with a friend who’s seen a lot, learned even more, and still finds joy in it all

Listen in for an authentic conversation with Bonnie Whitmore about music, memory, and what it really means to find your voice. Available wherever you get your podcasts.

Chapters

• 00:11 - The Musical Journey of Bonnie Whitmore
• 03:59 - Discovering My Own Sound
• 08:00 - The Journey to Nashville and Songwriting Evolution
• 16:34 - The Challenges of Modern Music Industry
• 23:06 - Baking Inspirations and New Ventures
• 28:32 - The Variety Show Concept

Takeaways

• Bonnie Whitmore shares how her childhood was steeped in musical influences from her parents, shaping her artistic path.
• She humorously reflects on her early experiences with music, noting her dad's unique yet incorrect interpretations of classic songs.
• The podcast dives into her journey transitioning from family bands to discovering her own musical identity in high school.
• Bonnie discusses the intricacies of songwriting and the collaborative process that enriches her music in Nashville.
• She highlights the importance of community in music and her desire to create a variety show in Austin to foster connections.
• Bonnie's upcoming project promises a more upbeat tone, showcasing her growth as an artist while retaining a conceptual focus.

Mentioned in this Episode

• Chuck Berry
• Doc Watson
• Willie Nelson
• The Beatles
• Traveling Wilburys
• Tom Petty
• Bonnie Raitt
• Led Zeppelin
• Rolling Stones
• Muddy Waters
• Burt Mitchell
• Chris Masterson
• Amanda Shires
• T.J. McFarland
• Rich Hinman
• Hays Carl
• Graham Weber
• Chris Porter
• Some Dark Holler
• Pretty Pennies

Recommended If You Like

Country Fried Rock, Bonnie Whitmore podcast, musician interviews, creativity in music, songwriting inspiration, Texas singer songwriters, Nashville music scene, playing bass guitar, influences in music, Beatles music discussion, music production process, Empress Ashes album, music industry challenges, co-writing songs, live performance experiences, music and mental health, variety show concept, baking and music, music collaborations, indie music community

Transcript

Speaker A

00:00:00.800 - 00:00:11.200

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered hey, song, It's Bonnie Whitmore.

Speaker B

00:00:11.360 - 00:00:38.570

Here's the basic deal. I think that my parents really had children so they could have musicians.

My dad needed a band, so he had two kids that he was gonna be like, all right, I'm grooming you to be the fiddle player. And you, you're the bass player.

I was, like 5 years old when I started playing instruments, and they unfortunately tried to start me out on the fiddle, and that was a really terrible idea. I moved promptly over to the bass by the age of eight. Kind of went from there. I kept on the low end.

I started to play cello after that and all that kind of stuff.

Speaker A

00:00:38.810 - 00:00:41.210

What were you playing with your parents? What kind of songs?

Speaker B

00:00:41.450 - 00:01:52.750

See, this is what I think is kind of funny. Mystic Situation is this. I felt like I grew up with my dad's interpretations of songs, the original version. So I was like, yes.

I grew up with Chuck Berry and Doc Watson and Willie Nelson, Townsend Dance, the Beatles, all these different influences, but they were always through the interpretation of my dad's, however he wanted to do the song. I remember coming to him when I was, like, 12 years old, and I was, like, totally getting into the Beatles all of my, like, junior high.

And they were like, oh, they're so freaking rad. And I put in sergeant hardcore band and start playing when I'm 64. And I'm like, dude, it's my dance song.

The first thing occurs to me, and then I'm like, yeah, that's. Let me rephrase that. And I listen to it, and I'm like, oh, my God, My dad has been playing this song wrong all of my life. It is not Sarah, it's Vera.

Totally messes up the second verse. So I came promptly home and be like, dad, you've been doing a Beatles song. You didn't tell me, and you've been singing it wrong.

And, like, how to make him correct. But it was just sort of funny to have that kind of background music instead of, like, most people remember playing records.

No, it was my dad playing guitar or my mom is in the other room singing opera. You know, that's the way we threw down in the Whitmore house.

Speaker A

00:01:52.910 - 00:01:57.950

Were the Beatles the first band that you were able to discover on your own what the original sounded like?

Speaker B

00:01:58.110 - 00:02:49.250

Well, it's hard to say if I really kind of think back. We didn't do very many road trips as kids. My dad's A pilot.

And I know that makes me sound so like hoity toity, but we didn't drive the places we flew. And I don't know if you've had any experience with a small airplane, but listening to music while in a small airplane kind of hard.

So there wasn't like road trip music going on.

But I do recall like the few times that we would go down to Corpus Christi, we'd drive down there and this old beat up Ford truck, my dad's, we would listen to the Traveling Wilburies. And then we had Tom Petty and we had Bonnie Raitt.

So even the music that I did hear, some of it was eclectic and you know, yeah, of course there was like top 40 country that would be on the radio station, but I don't really consider that, like that was just the station my dad tolerated, my mom tolerated the classical station. There was no other pop, whatever going on.

Speaker A

00:02:49.490 - 00:02:52.290

When or what did you start finding that was just you?

Speaker B

00:02:52.370 - 00:03:56.250

You know, I do think that like the Beatles was sort of my like first gold star find my own self. I was also influenced by my sister's tapes, which she had horrible taste. They like got me into erasure and see, where else did we go from there?

Then eventually, you know, Led Zeppelin was found when I was like 14 years old. Slowly all over that and, you know, it kind of led into a whole bunch of other stuff.

I mean, it took years to really get into like totally into the Rolling Stones. It took me forever to get to that point. I think I was like 24 when I decided, all right, I get it now. Yeah, I was so not a Rolling Stone fan.

I think it was because Mick Jagger had bigger lips than me. I don't know, that's not really it.

I guess once I got like the backstory and I really started getting into like the historical fact of like, you know, music, then you sort of can come to the Rolling Stones with the tone. Totally different aspect when you know that like Muddy Waters was the big influence, you know, and they were like, oh, okay, I get it.

It was black music that you were like, wanted to play. As a white British guy, you were.

Speaker A

00:03:56.250 - 00:04:03.250

Playing music that wasn't of your choosing for a really long time. At what point did you start playing stuff that was what you wanted to play?

Speaker B

00:04:03.650 - 00:05:28.000

When I was 15 years old, my dad had this friend that he really loved his music, really believed in his songwriting and everything, and he was wanting to put together a band. And what better band than his daughter? I'm 15 years old and I get as this guy his name is Brent Mitchell, bass player.

And so, like before everything was always playing songs with my dad. It's my dad's band and you know, especially as a 15 year old, he's kind of like, oh, so not cool. I was such a brat.

And then like, here was this guy and I like totally dug his music. It was beautifully written songs. There was a whole lot of imagery in it.

And, you know, especially for 15 year olds, you know, to like find something that actually does have meaning and like, it is pretty impressive to me. So I started playing with his band and then I just sort of. Then it became like. Not that I didn't love playing with my dad, mind you.

Like, I don't want to get the wrong impression. He wasn't a slave driver or anything like that, but it was definitely like, it was something that I always did.

It wasn't something that I came to and found and fell in love with. By starting to play music with other people outside of my family, I really got into, oh, maybe I do want to do music.

Because I mean, up until that point I was destined to be a rising, like actress star. But yeah, no, I started playing in local bands in the Dallas wars area through my, like high school years and that really got me into it.

And also by way of playing with the Burt Mitchell Band, I understood the crafting of songs and it made me want to do that.

Speaker A

00:05:28.240 - 00:05:29.120

So when did that happen?

Speaker B

00:05:29.360 - 00:05:34.880

I was 16 when I wrote my first song. I was 22 before I wrote one that I was proud of.

Speaker A

00:05:34.880 - 00:05:35.600

Right, sure.

Speaker B

00:05:35.840 - 00:05:45.750

It took me a while to like, really get into it and real, really feel comfortable in speaking and saying and telling the story the way that I wanted it. Hey, song. It's Bonnie Whitmore.

Speaker A

00:05:46.070 - 00:05:48.790

So once you were doing your own thing, where did that take you?

Speaker B

00:05:48.870 - 00:07:27.960

Well, I moved down to Austin. I lived down there for a number of years. I had a duo group with another girl by the name of Jamie Blythe, and we went by Bonnie and Blythe.

We were really big in hill country, you know, that was especially that time period. I was really just excited because I was completely supporting myself on music. Didn't really go to college, you know, I can't really sing that story.

I did not get along with school. We tried. It was like, dude, seriously, we're done. And I played with like bands down in Austin, Texas. I played with Susan Gibson.

I played with Ray Willie Hubbard.

Picked me up for a couple shows every once in a while or something like that, you know, I just got a chance to play with some great Texas singer songwriters. Got into putting together my own group, being Bonnie Moore instead of the bass player. And I did that for sell.

And then I kind of got this weird bug in me that I was like, okay, I'm going to go and I'm going to travel. I'm going to do all these different things. Decided I needed to make a new change, so I moved to Nashville.

I keep saying it was like five years ago, but I think it was more than five years ago now, you know, moved out there, and luckily for me, I had a guy that I was playing bass with and had moved up there, so I could at least get up there and start playing music right away. Instead, I have to really slosh around, get people to notice you. So the basement in Nashville, this is the best one.

So, like, I was playing with this guy, Mondo Signs, who I love, absolutely love. And I'm playing the guy that owns a place, Mike Grimes, whatever. He's a bass player. And so it was like, it didn't matter if I was good or not.

It was like, you were a good bass player. I will book you. And I was like, yes, awesome. This is the way I like doing things. I totally work Nashville from the back door, not the front door.

Speaker A

00:07:28.040 - 00:07:28.440

Right.

Speaker B

00:07:28.840 - 00:07:57.560

The record store and the venue combined. Those are two things you don't really find as often and as cool as they are, you know? Yeah. And really, it was the best sound.

There were plenty of other places to play in Nashville, but none of them sounded as good. Kind of the draw. And it was because it was a small place, too. It's like you got 10 people in the audience and you were like, dude, I'm rocking out.

This place is packed. Whereas when you get like 50 people but in a like 300 room, you're like, I am so lame.

Speaker A

00:07:59.210 - 00:08:00.810

So how did Nashville evolve for you?

Speaker B

00:08:00.970 - 00:08:24.490

Nashville taught me how to write a song, really write a song. And I got a chance to do some co writing.

I did a couple of songs with Amanda Shires, co wrote with another guy from Oklahoma by the name of T.J. mcFarland. And, you know, just kind of really got into it.

I say that this album that I put out, Empress Ashes, I'm extremely proud of that album for a lot of different ways, but they were all like, I'm really proud of each one of those songs.

Speaker A

00:08:25.390 - 00:08:31.550

Did you do the whole co write situations or were these more organic in that you were friends with someone? You said, hey, let's write a song.

Speaker B

00:08:31.630 - 00:09:39.040

Yeah, it was more like, hey, let's write A song. I mean, I did do a couple writing sessions with people, but we never really got that far. I mean, I did, like, sit down and I wrote a song with Mondo.

I have yet to go back there and play it again. Sometimes I don't like the song or anything like that. It just. It just didn't come.

Like, most of the time when I write with somebody, when it fits, it's just. It's so easy, and that doesn't always happen. Like, I've written a number of songs with Amanda Shires that we haven't released by any means.

Or I like them, so I put them on my record. Those two songs that we got out of it. Like, the first one that we wrote was gto, which is on my record. And it's the fun song that we wrote.

Completely hungover the next day, and it came out and there we go. We had the song. The next song we wrote together that we finished was Cowboy Lullaby. And that one we kind of had a couple.

I had some writing, she had some writing. And we just sat down and we created this song and progression and all that kind of stuff. And it really worked for that song.

Like, each song has its own individual personality, and you can't. At least I can't assume that I can write every song the same way.

Speaker A

00:09:39.280 - 00:10:03.820

Several great musician friends of Country Fried Rock generously donated songs for a free music sampler.

Download it at NoiseTrade.com CountryFridRock 19 songs to help raise awareness and money for Nucci Space, a nonprofit serving the mental health needs of musicians in the Athens, Georgia area. Find out more about new cheese@n u c I.org hey, this is Bonnie Whitmore.

Speaker B

00:10:03.820 - 00:10:05.980

And you're listening to Country Fried Rock.

Speaker A

00:10:06.220 - 00:10:09.820

What led to that looking like it was going to become a record?

Speaker B

00:10:10.460 -...

Summary

From 2012: Jimbo Mathus hops onto the Country Fried Rock stage, bringing a whirlwind of musical tales and soulful reflections that are as rich as a Mississippi mud pie. Right off the bat, he dives into the heart of creativity, revealing how his upbringing in the vibrant musical landscape of northeast Mississippi shaped his artistic journey. With a background steeped in family harmonies and raucous jam sessions fueled by cheap beer, Jimbo paints a picture of a life where music wasn’t just a hobby; it was the family business. He chats about his evolution from strumming mandolins as a kid to fronting one of Mississippi's first punk bands, showcasing a colorful tapestry of influences that range from blues legends to punk rock pioneers. As they meander through stories of juke joints, the beauty of original songwriting, and the importance of staying true to one’s roots, it becomes clear that Jimbo’s journey is not just a personal odyssey but a celebration of the Southern spirit and the transformative power of music.

Show Notes

Growing Up Mississippi Style

• Jimbo Mathus paints a vivid picture of his childhood in Northeast Mississippi

• Remembers chaotic and joyful family gatherings filled with music, cheap beer, and loud harmonies

• Shares how early exposure to banjos, mandolins, and gospel traditions lit the spark for a lifetime of music

Mandolins to Punk Rock

• Talks about learning the mandolin as a kid and the musical encouragement he got at home

• Reflects on forming one of Mississippi’s first punk bands, Johnny Vomit in the Dry Heat

• Discusses the challenges of building a punk scene in small-town Mississippi in the 1980s

Musical Identity and Evolution

• Shares his journey from punk to embracing blues, Southern rock, and traditional roots music

• Talks about the influence of Robert Johnson, Bill Monroe, and how those legends shaped his sound

• Emphasizes the importance of originality and blending genres in his songwriting

The Songwriting Craft

• Describes songwriting as a lifelong craft shaped by personal history and family tradition

• Highlights the role of Southern storytelling and creative persistence in his process

• Reflects on how returning home to Mississippi has deepened his artistic connection to place and people

Collaborations and Current Projects

• Talks about working with blues legend Buddy Guy and what that experience meant to him

• Gives a sneak peek into his upcoming album, White Buffalo, focused on cultural symbolism and storytelling

• Explains how he approaches new projects with intention and a desire to stay authentic

A Conversation That Feels Like Home

• The episode flows like a casual hangout on the porch with a good friend

• Filled with humor, insight, and heartfelt storytelling

• Jimbo’s passion for music, roots, and community shines throughout

Why You’ll Want to Listen

• Get to know the man behind the music, from punk pioneer to roots revivalist

• Discover how Jimbo blends rebellion with tradition to create something uniquely Southern

• Hear stories that reflect the deeper meaning behind the songs and the culture that inspires them

Tune in to hear Jimbo Mathus open up about the roads he’s traveled, the music he’s made, and the heart behind White Buffalo. Available wherever you get your podcasts.

Links

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

• Jimbo Mathus
• Jimbo Mathus on Bandcamp
• You may also enjoy this conversation with Tara Nevins of Donna the Buffalo from 2012

Takeaways

• Jimbo Mathus shares his nostalgic memories of growing up around music in Mississippi, highlighting the family gatherings that shaped his artistic spirit.
• The podcast dives into how Jimbo transitioned from a punk rock scene to embracing traditional Southern music, blending both influences in his creative journey.
• Listeners get a glimpse of Jimbo's philosophy on recording music, emphasizing the importance of capturing authentic performances without relying on modern tech fixes.
• Jimbo discusses the profound connection between Southern literature and music, revealing how family history and storytelling play a crucial role in his songwriting process.
• The conversation touches on the significance of the juke joint culture in the South as a unique space for musical expression and community bonding.
• Jimbo talks about his upcoming album White Buffalo, inspired by a rare buffalo's death and its cultural symbolism, showcasing his commitment to authentic storytelling through music.

Chapters

• 00:09 - Introducing Jimbo Mathus
• 00:59 - The Journey into Music and Identity
• 14:10 - The Journey to Artistic Discovery
• 20:59 - Returning to Roots: The Mississippi Connection
• 27:54 - The Evolution of Musical Expression
• 31:24 - The Significance of the White Buffalo

Mentioned in this Episode

• Country Fried Rock
• Nuci's Space
• Goner Records
• Squirrel Nut Zippers
• Big Legal Mess

Recommended If You Like

Country Fried Rock, Jimbo Mathus interview, Southern music inspiration, creativity in songwriting, Mississippi music scene, original music production, juke joint culture, blues music history, punk rock in Mississippi, Southern literary tradition, music and family heritage, Americana music podcast, Country Fried Rock podcast, mental health in music, Nuci's Space nonprofit, music production techniques, songwriting process, Southern culture and art, vinyl record production, creative collaboration in music, squirrel nut zippers

Transcript

Speaker A

00:00:00.800 - 00:00:17.920

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 Jimbo Mathis, who's been in the music scene for a while and continues to create and push his own limits. Morning, Jimbo. Thanks for being with us.

Speaker B

00:00:18.080 - 00:00:19.840

Good morning. How are you?

Speaker A

00:00:19.840 - 00:00:23.920

I am fantastic. It is bright and early for a musician. I thank you for being with us.

Speaker B

00:00:24.320 - 00:00:25.600

I get up with the chicken.

Speaker A

00:00:26.240 - 00:00:27.280

You got yardbirds?

Speaker B

00:00:27.610 - 00:00:29.050

Yes, ma'. Am. You know it.

Speaker A

00:00:29.290 - 00:00:31.690

Are they pretty ones or country ones?

Speaker B

00:00:31.770 - 00:00:37.690

They are country ones. They're a little raggly. They gotta fight for their right to stay alive around here. Good talking with you.

Speaker A

00:00:37.770 - 00:00:46.570

Absolutely. You too. You too. Well, this has been a treat because your name has been brought up repeatedly throughout our show, but really more for your producing.

Speaker B

00:00:46.810 - 00:00:54.650

Right? I'm so glad.

Yeah, I did a lot of producing over the past five years, you know, helping other artists out and helping them get their sound like they needed it.

Speaker A

00:00:54.960 - 00:01:06.880

As I started to do a little bit of research, I realized we could talk about all different kinds of things. So let's set the stage a little bit for how you first started getting into music, like, as a little kid. What were you into?

Speaker B

00:01:07.280 - 00:02:02.000

Yeah, well, I grew up with music in the house, you know, with my father, my uncles, my cousins. This is. I'm talking about northeast Mississippi, in the hill country of Mississippi during the 70s and 80s. So, yeah, we had banjos, mandolins.

I first got attached to the mandolin when I was about six and I started learning the rudiments, you know, all instruments. We had a lot of harmony singing.

And music was just a part of our house and it was a part of our weekends, you know, and just what the family did, it's some of the most fond memories, you know, you can have, really. Just watching grownups get tanked on cheap beer and, like, singing like angels, you know, it's great when you're six years old.

And they always encouraged me.

And so that's how I got into it was really more from just the joy and the family aspect of it and then before, you know, ever realizing there was a business part of it.

Speaker A

00:02:02.000 - 00:02:07.080

Sure. Well, at what point did that expand for you beyond just what you were doing with your family?

Speaker B

00:02:08.440 - 00:02:25.840

High school, you know, I started branching out and wanted. I got an electric guitar and an amplifier and, you know, and wanted to rock. This is in Corinth, Mississippi.

So actually, I had one of the very first punk rock bands in the state of Mississippi, you know, in the early 80s, called Johnny Vomit in the Dry Heat.

Speaker A

00:02:26.160 - 00:02:26.880

Great name.

Speaker B

00:02:26.880 - 00:02:36.880

And we had some 45, you know, that you can find out there that are on goner records. That would be my first recorded evidence would be Johnny Vomit in the Dry Heaves.

Speaker A

00:02:37.040 - 00:02:39.280

And so what sort of punk were you all?

Speaker B

00:02:39.520 - 00:03:23.200

We were backwoods Mississippi punk. We basically had to make up our own scene. I think we saw rock and Roll High School on, you know, HBO when we finally got cable in the 80s.

And that's when we realized that there was a thing called punk rock. We jumped in head first when we were teenagers.

But then I really just always kind of latched on to original things, things that were different, things that were original, as well as embracing like the traditional stuff. I still do the same. You know, the traditional stuff is like my bible. And the new and the different that just comes from being a songwriter.

And I've pushed to always have my own compositions. That's what I'm usually playing, you know, for the public.

Speaker A

00:03:24.080 - 00:03:49.250

Several great musician friends of Country Fried Rock generously donated songs for a free music sampler.

Download it at noise trade.com countryfriedrock 19 songs to help raise awareness and money for Nucci's Space, a nonprofit serving the mental health needs of musicians in the Athens, Georgia area. Find out more about Nucci's at n u c I.org from right away you were writing your own stuff?

Speaker B

00:03:49.410 - 00:04:04.290

Yes, ma'. Am. I got started writing my own stuff right away after high school.

I continued to do that and just something finally just clicked in my late teens and early twenties where I was able to just start writing on my own stuff. And I've done that ever since.

Speaker A

00:04:04.530 - 00:04:06.450

Is that something that just flows for you?

Speaker B

00:04:06.770 - 00:04:53.670

It does now. I just look at. It was this like a habit thing, you know, I mean, I had encouragement in music and I had encouragement in my family.

All through the generations are known as writers and musicians and different kind of eccentrics. So I've got a. They're also real smart. And so, I mean, just crazy smart people that scare you, you know. So I've got this kind of weird streak.

So I practiced doing it. I just. It kind of came out of me then over the years after doing it so long.

Now it's just a habit thing, you know, I can do it pretty easily as far as the composing, writing, latching onto ideas and kind of elaborating on them. It's like carpentry or something to make it, you know, it's. Or working on a carburetor. It's just habit and it's Pretty easy.

Speaker A

00:04:53.910 - 00:04:56.950

Does that tie into like a Southern literary tradition for you?

Speaker B

00:04:57.110 - 00:05:20.230

It really did. Big time. Big time. I've got authors in my family. Well, all of my family is based in Mississippi in the Deep South.

You know, I mean, that's three generations. As soon as they were settling in Mississippi, we were here. Yeah.

It really does tie in memoirs, kind of eccentric uncles and cousins who did memoirs, who did essays, poetry and this kind of thing.

Speaker A

00:05:20.630 - 00:05:22.630

When did you discover some of those writings?

Speaker B

00:05:23.110 - 00:06:14.680

I discovered all this stuff as a child.

You know, I was always into genealogy of the family, and I was always into digging around in the great grandmother's boxes and finding postcards and stuff, you know, asking questions about these things. You know, I started taking notes on the family genealogy, you know, when I was just, you know, I have.

I have notebooks that I kept and going through the family Bibles and stuff. So it's a. It is a Southern literary mindset very much.

And that's tied into our history as well into our music, you know, as far as the musical side, you know, my father was real stickler and a great memory for lyrics, you know, and he would know all the verses to everything. And he's just got this incredible photographic memory for. For song lyric.

And so I was brought up with all the proper lyrics, 22 verses for John Henry.

Speaker A

00:06:14.760 - 00:06:15.240

Wow.

Speaker B

00:06:15.800 - 00:06:24.080

You know, or whatever. There's a certain number that we knew. And it's like. Like I said, it's like the canon of the Bible. You learn it and then you know.

Speaker A

00:06:24.080 - 00:06:33.000

It with the literary influence and then combined with the history and tradition of the musical history of the Deep South. Where did it lead for you?

Speaker B

00:06:33.160 - 00:07:35.460

Oh, well, I mean, it just, you know, that's just being a kid with a lot of testosterone, you know, and been zits, you know. So I mean, I just kept really at this. I just kept on the same path, really.

I know it seems sort of chaotic if you look through my catalog, but the whole time I was studying Bill Monroe, I was learning how to play Robert Johnson, I was learning how to play Charlie Patton.

There's things that I didn't grow up with that I continually, as I got older and was able to say, go to record stores and find a Elmore James record or find a Louis Armstrong record or something, and just pretty coincidence, and started getting out into the bigger world and being able to travel to Atlanta and in other areas and see more of the world and go to, you know, Chapel Hill and look through the music stores and hear the college stations. I was. Grew up in a Very rural. I mean, we were. It could have been the 1950s in my town.

So there were no computers there, you know, very little access to anything. I had the same teachers in high school that my dad had had.

Speaker A

00:07:35.800 - 00:07:36.040

Right.

Speaker B

00:07:36.680 - 00:08:17.100

And they confused us, you know, they were, like, senile. You know, this was. There was like Lone Ranger was on tv, you know. So I got out and began to travel on my own.

And I was very curious about the art scene in the world, the music scene. And I just kept putting it to two and two together.

Kept realizing as time went on how everything really tied back into Mississippi anyway, for me, through Faulkner, through the blues, through the history of slavery, Civil War history, and everything that's tied in just kept pointing me back as I looked further and further around and kind of saw what America was all about. I just really kept on a pretty steady path through reading and through the music.

Speaker A

00:08:17.580 - 00:08:20.060

And literally, I mean, because you ended up back there.

Speaker B

00:08:20.220 - 00:08:32.150

Correct. Correct. Hey, everybody, you're listening to Jimbo Mathis here on Country Fried Rock.

And be sure and look me up on JimboMathis.com J I M B O M A T H U S what.

Speaker A

00:08:32.150 - 00:08:35.030

Was continuing to push you creatively with.

Speaker B

00:08:35.030 - 00:09:40.560

That, that point in time? Just discovery, you know, finding out all these other things about art, theater, music and in the Chapel Hill scene.

See, I relocated myself up there in the late 80s, and I was drawn to groups that were. I thought, were unique. Like, well, REM I know they had a very literary bent, studiousness in his lyrics.

But also groups like Southern Culture on the Skids, who were like, really celebrating, hey, we're Big Old Red, you know, and groups like Flat Duo Jet and who were very roots oriented, would do things like Benny Goodman music, you know, and they kind of made it. They fit it all into a rockabilly, you know, Southern thing.

I got encouragement for that and I was like, aha, here's a Southern new generation of people that are putting something together. And this is where I'm heading, you know, and this is my mindset.

So I really identified with that in Chapel Hill and then the Athens scene and the people kind of looking back and doing cool stuff and knew what they were doing. So I think that attracted me to that area and that really got me started with the Squirrel Nut Zippers.

Speaker A

00:09:41.360 - 00:09:48.480

You mentioned briefly about record stores in the role that they played, especially at that time in music discovery.

Speaker B

00:09:48.480 - 00:09:48.840

Yes.

Speaker A

00:09:48.840 - 00:09:53.520

Was there a bootleg that really got you or just something that was new to you that was like your Aha.

Speaker B

00:09:53.520 - 00:11:12.590

Album, You know, I would have to say it would be REM like when I was in high school, I saw them on...

Summary

From 2012: Drew Beskin of the District Attorneys kicks it off with a deep dive into the creative process behind their latest album, Slowburner, revealing the raw inspiration that fuels his songwriting. He shares how the music scene in Athens has shaped their sound, blending personal anecdotes with the energetic vibes of the band’s journey. From reminiscing about jam sessions in high school to the thrill of crafting melodies that stick like gum to your shoe, Drew's passion for music is palpable. He offers a glimpse into the studio dynamics, where experimentation and camaraderie spark unexpected twists in their tracks, showcasing their evolution as artists. Listeners are in for a treat as they explore not just the tunes, but the heart and hustle behind the art that keeps them rolling.

Links

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

• The District Attorneys on Bandcamp
• You may also enjoy this conversation with Southeast Engine from earlier in 2012

Show Notes

• From Drumsticks to Frontman:
• Drew Beskin shares how his early musical dreams began behind a drum kit, inspired by Levon Helm of The Band.
• He reflects on how those roots shaped his approach to rhythm and storytelling in songwriting.
• Roadtrip Soundtrack & Musical Memory:
• Drew opens up about the songs that stuck with him during long drives between Indiana and Atlanta.
• Music as both a personal escape and emotional companion during pivotal life transitions.
• Songwriting as Muscle:
• Drew breaks down his belief that creativity is something you have to train and work at consistently.
• He discusses the shift from playing covers to crafting deeply personal original songs.
• Insights into his process: how persistence and reinvention keep the spark alive.
• The Evolution of District Attorneys:
• Behind-the-scenes look at the making of Slow Burner—what the album means to Drew and the band.
• Themes, tone, and the creative decisions that shaped the record.
• Live Energy & Band Chemistry:
• A candid discussion about the dynamics of performing live with District Attorneys.
• How their connection on stage translates into electric performances packed with both fresh material and fan favorites.
• The band’s philosophy on building a setlist that leaves it all on the stage.
• Why You’ll Want to See Them Live:
• Drew emphasizes creating unforgettable moments in every show.
• A glimpse into what fans can expect from upcoming gigs and what’s next for the band.

Listen now to catch the full conversation and experience the heart behind Slowburner. Whether you're a longtime fan or new to District Attorneys, this episode delivers an honest, heartfelt look at music, creativity, and the power of collaboration.

Available wherever you get your podcasts.

Chapters

• 00:00 - Introduction to Country Fried Rock
• 01:09 - The Journey of a Musician
• 07:09 - The Formation of the Band
• 14:51 - The Journey of Creating Slowburner
• 20:52 - The Live Performance Experience
• 27:03 - Preparing for the Next Record

Takeaways

• Drew Beskin passionately shares about his creative process and the inspiration behind the District Attorneys' music, showcasing how personal experiences shape artistic expression.
• The conversation dives into the significance of live performances and how they influence the songwriting process, highlighting the vibrant Athens music scene.
• Listeners gain insight into the band's approach to recording their album, Slowburner, and the collective effort that went into crafting each track with care and creativity.
• The dynamic between band members is explored, emphasizing the importance of friendship and collaboration in both songwriting and live performances.
• Drew reflects on the evolution of his musical journey, from aspiring drummer to frontman, illustrating the growth that comes with time and experience in the industry.
• The episode wraps up with a nod to the fun and camaraderie within the band, as they discuss their favorite venues and the joy of sharing music with audiences.

Mentioned in this Episode

• District Attorneys
• Slowburner
• Rilo Kiley
• Whiskeytown
• Indiana University
• Gillian Welch
• Future Birds
• Uncut
• Rolling Stone
• Paste
• Guitar World
• Centromatic
• Georgia Theater
• Masquerade
• Pianos
• Hole in the Wall
• Gus's Fried Chicken
• Nuci's Space

Recommended If You Like

country fried rock, Drew Beskin, District Attorneys, Slowburner album, indie music podcast, songwriting inspiration, Athens music scene, live music performances, music collaboration, recording process, music interviews, creative songwriting, indie rock bands, band dynamics, music production, acoustic performances, music influences, EP releases, musician mental health, music festivals, slow burner

Transcript

Speaker A

00:00:00.800 - 00:00:13.840

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 Drew Beskin of the District Attorneys. Hey, Drew.

Speaker B

00:00:13.840 - 00:00:14.760

Hey. How you doing?

Speaker A

00:00:14.760 - 00:00:16.640

I'm great. Thanks so much for being with us.

Speaker B

00:00:16.640 - 00:00:18.480

Oh, of course. Really excited.

Speaker A

00:00:18.480 - 00:00:28.720

Your record, Slow Burner is one of those. I got it and I put it in and I went, I'm never taking this out of my car. That does not happen very often.

So I literally was like, yes, I get to talk to them.

Speaker B

00:00:29.400 - 00:00:59.080

That's awesome. That's awesome. That's my favorite thing too. When I get a record, I know, like, for me, it's more like one song.

I usually, like, stay fixated on one song for, I don't know, for days or weeks on end. Like, I think when I heard Rilo Kiley's Silver Lining, really this is. This is. This is what I'm gonna listen to for three weeks.

I went to school in Indiana and I would drive from Atlanta to Indiana for eight hours. I'm pretty sure.

I think on one of the trips, I think I did that for Silver Lining and I think one of the trips I did that for Houses on the Hill by Whiskeytown.

Speaker A

00:00:59.080 - 00:00:59.480

Yeah.

Speaker B

00:00:59.480 - 00:01:04.260

The first time I heard it, I was like, well, this two minute song is gonna on repeat for eight hours.

Speaker A

00:01:04.820 - 00:01:06.220

Where'd you go to school in Indiana?

Speaker B

00:01:06.220 - 00:01:07.780

I went to Indiana University.

Speaker A

00:01:09.300 - 00:01:14.500

We are gonna jump way, way back. How did you originally get started playing music?

Speaker B

00:01:14.740 - 00:03:27.100

I guess I've always liked watching live performances on television. I kind of. I always. I wanted to be a drummer. I wanted to be a drummer who like, sang like Levon Helm, who grew up watching Last Waltz.

And I just thought it was one of the coolest things to do, like, take one like D. When I think of singing, I think.

I think more of like if I close my eyes and someone said singing, I would imagine like a woman singing, I would find that as very feminine and obviously like a tribal be like just drumming. If I close my eyes and someone said percussion, I would think, man, see, like singing and drums together, I like that kind of perfect combination.

That's how I felt at least, because I got a drum set, wasn't very good at it. And I'm still not that great at it. I'm getting a little better, but. And also made so much noise that my parents always made me stop.

So I ended up playing a guitar. And after, you know, learning a few songs, I kind of wanted to.

The main goal is, you know, just to more so impress myself than anything else and just try and go complete a thought and write a thing and like, create something that didn't exist before. You know, Bob Dylan once said, like, I just want. He wrote because he wanted to find a song that he could sing to match his voice.

And then Keith Richards. I grew up reading a lot of magazines and I remember certain quotes one another.

But Keith Richards said, like, no, we're all just kind of contributing to the one great big song. And I always thought that was interesting. So ever since, I'm probably like 15 or 16 and like, you have to be writing something.

If you're not writing, if you haven't written a song in the next three weeks or something, then you're just a loser. You need to hurry up and write more. First it was. It was like studying other writers. And then after, it was just writing as much as possible.

And now, up until now, just more of just how do you start over each time?

Because for a while I felt like when I've been writing, over the last few years, when I've been writing, it's been more a continuation of women doing like, oh, you can't do this move, or you can't, you know, write about this subject, because you already did that before. But now I've kind of learned, you know, just start over fresh, clean slate with every single song.

So it's been kind of from the beginning to now, it's been kind of how can I craft the best song? I mean, obviously I'm no Burt Bach rat, but he's pretty awesome. He's someone. He's written a lot of different. Whole big range of different tunes.

I kind of like that. I like the variety of the song.

Speaker A

00:03:27.340 - 00:03:33.980

Songwriter, when you first started playing guitar, did you start out right away writing, or did you at least learn some other songs first?

Speaker B

00:03:34.380 - 00:05:40.230

Oh, I think I learned. I first got guitar. I think I learned how to play Back in Black. And then I think that took me about three years.

And then after that I started learning other stuff.

For a while it was just me sitting at the computer, just trying to learn as many riffs as possible and just trying to be like a shred head or something. But then I saw how cool it could be.

Just sit with acoustic guitar and like, you know, you know, write something to see, even with a few chords or whatever. And not. I stopped trying to be so technical.

And I don't think I've tried to be technical in a long, long time because it's much more just like rhythm playing. But when I first Started playing guitar, it was, you know, let's see if I can learn this part.

Let's see if I can learn all of Houses of the Holy or something like that. But then I think I picked up a big car when I was in seventh grade. I don't know how old that is. I might be 13.

And I think once I hit 15, I was like, okay. When I started, like, venturing off and finding my own music, like, not music that my friends listen to and that everyone listened to.

Not that this is any type of, like, indie band, but when I discovered Oasis on my own, I mean, this is when the Oasis was already done. I got this album called the Master Plan, which is an album price of just B sides, which I think are much better than their other stuff.

And I was like, oh, wow, these are great. And I want to. I want to be able to do this and just. I want to be able to write a song like that. Then I would look into.

Then I, you know, kind of stalk Noel Gallagher in it, and then I would. Then I would see that he would. He was talking about how Johnny Moore and Morrissey are like the best team of songwriters.

And then I would get into them and then, you know, just everything like that.

So just, you know, kind of trying at first, when I got the guitar is more of, okay, so Jimmy Page plays lead guitars because I was just obsessed with him. But then when. No, get. When I was obsessed, no. Gallagher is all about songwriting. So. And that's just kind of what I felt like I gravitated toward.

And I. I feel like you can't really fail if you write a song, but you can fail if you try to do like a solo or something. People will find you out. But if you're being honest and it's complete for you, then the song is done and no one can really judge you on that.

Hey, this is Drew Beskin from the District Attorneys. Be sure to check out our record Slow Burner, available on. This is AmericanMusic.com youm also mentioned that.

Speaker A

00:05:40.230 - 00:05:43.470

You like to read a lot about music. Did you have particular magazines you liked?

Speaker B

00:05:43.550 - 00:05:50.630

Oh, yeah. I mean, I loved Uncut, which I believe. I don't think I believe it's from London, right?

Speaker A

00:05:50.630 - 00:05:51.470

Yeah, it's still around.

Speaker B

00:05:51.629 - 00:06:08.930

I remember just whenever I got out of school and I would go to, like, the Barnes and Noble near my high school, that's. I'd grab an uncut magazine. I'd grab. Grab a Rolling Stone, grab. Grab Paste when Paste was still around, right?

Because I think they're just they're just online now. Yeah, Yeah, I realize. And also like Guitar World.

Speaker A

00:06:09.410 - 00:06:14.050

At which point did you either start playing out or did you try to get together a band?

Speaker B

00:06:14.850 - 00:07:26.920

The songwriting thing was something I kind of did, like, throughout high school just by myself, just kind of in my room, just kind of trying to build up a catalog because I knew what I was writing was very good. Feel like it's kind of like just like training for a marathon or running.

Like, I know it comes easier to some people, but I could tell that, you know, this is like a muscle that you're going to have to train. The first hundred or two songs were not very good, and I would say the ones in college weren't that great either. But that's when I was.

I got the courage to do some open mic nights in Indiana, which is just me by myself. And then the only other type of band experience I had in Indiana was just playing bass in a friend's band.

And then in terms of starting the band, that's. Once I graduated from Indiana, all my friends were still living in Athens because they're still in school, doing that fifth year victory lap.

I took a job at a restaurant and moved in with some friends. And that's when we started the band. And then, you know, I think a few months after that, that's when we played our first show as full band.

But before then, it's usually just, you know, acoustic solo performances just to see if I was able to, you know, get it out or, you know, be able to stand the stress of staying up and playing guitar in front of people and singing.

Speaker A

00:07:27.440 - 00:07:29.760

What then led to the formation of the band?

Speaker B

00:07:30.080 - 00:08:20.600

Our drummer, Chris Wilson, who is one of my best friends, but we.

We went to high school together and we, like, in high school, we did, like, talent shows every once in a while, once a year, and we would play with friends and we would do. I think we did a cover of Use Meal Withers, and I think we did Firecracker by Ryan Ems. That was our musical relationship, basically.

We always go to shows together and we talk about music a lot. And then we kind of just casually say, hey, whenever we get more than a few months together, we should start a band or whatever.

And by the time I got to Athens, I had recorded a bunch of demos just so I could give to him so he could listen to. And then we got the rest of our friends to join the band. And then now we have our band.

There's five of us, and four of us went to the same high school.

Speaker A

00:08:20.840 - 00:08:21.320

Wow.

Speaker B

00:08:22.650 - 00:08:54.020

Our lead Guitarist was in our grade and he's also one of our best friends, but he was in Richmond, Virginia and he came on I think a year or two later or I think maybe a year, maybe a little under a year later. And then our bass player came on a year later as well.

Most of us all knew each other for a very long time and luckily we had a nice six tracks worth of demos for us to kind of listen to so we can get. We kind of not start completely from scratch. And then from there we kind of just went off.

Speaker A

00:08:54.420 - 00:08:56.500

Are y' all still based in Athens? Y' all are divided?

Speaker B

00:08:56.820 - 00:09:28.310

Yeah, we're definitely divided. There's three of us that live in Athens and Chris and I live in Atlanta where we both have our regular jobs.

We're both involved in media, like social media and search engine, computer optimization, type jobs and advertising. And that's kind of what we both major in. So we both have our. Both keeping our nine to fives while also doing the band thing full time.

And then the rest of the band are up in Athens, our bass players still in school and then another two are just up there working.

Speaker A

00:09:28.550 - 00:09:30.110

What's going to be the turning point for you?

Speaker B

00:09:30.110 - 00:09:38.710

Oh, I don't know. Maybe if. Maybe if Mouse invites us on a 100 day tour, we'll just go with them and then we'll never look back.

Speaker A

00:09:38.790 - 00:09:39.670

That would be good.

Speaker B

00:09:40.390 - 00:09:41.990

It's Drew from the District attorneys.

Speaker A

00:09:42.090 - 00:09:51.770

Athens bands in particular tend to have this whole thing of if you play in a band in Athens, you probably play in five other Athens bands as well. Is that something that's impacting the three guys who are still up there?

Speaker B

00:09:52.010 - 00:11:00.790

Yes, definitely....

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

1. 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.
2. 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.
3. 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.
4. 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.
5. Doing the “unfun work”: The lessons learned along the way about persistence, preparation, and embracing every part of the creative grind.
6. 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.
7. 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

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

Chapters

1. 00:12 - Introducing Charles Hale: A Music Enthusiast
2. 01:10 - Starting a Record Store: Charles Hale's Journey
3. 02:49 - Journey into Radio and Writing
4. 05:11 - Exploring Music Venues
5. 06:01 - Music Venues Across America
6. 06:59 - Introduction to Dive Bar Music Club

Takeaways

1. 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.
2. At Driver 8 Records, we embrace a philosophy of taste over trends, ensuring that our selection resonates with true music aficionados.
3. Community radio plays a vital role in nurturing local music scenes, providing a platform for emerging artists and fostering connections among fans.
4. Dive bars like Surfside 7 in Colorado and Parish Baker Pub in Mississippi create intimate settings where unforgettable live music experiences thrive.
5. 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.
6. 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

1. Driver 8 Records
2. Ajax Diner Book Club
3. Nine Bullets blog
4. KRFC radio
5. Fort Collins, Colorado
6. 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.