Summary

From 2012: Lincoln Durham joined the crew on Country Fried Rock to chat about his musical journey, diving deep into the creative process that fuels his unique sound. He kicked things off by sharing how his early days playing the fiddle, thanks to his family, laid the groundwork for his evolution as an artist. The conversation took a turn as he revealed his transition from a shy kid behind the fiddle to a bold singer-songwriter, influenced by legends like Bob Dylan and Jimi Hendrix. They also touched on his recent album, The Shovel Versus The Howling Bones, discussing how his solitude during the writing process shaped his music, leading to a raw and captivating live performance style. As they wrapped up, Lincoln reflected on the Austin music scene and his plans for future projects, leaving listeners eager to hear what’s next from this dynamic artist.

Links

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

• Lincoln Durham
• You may also enjoy this conversation from 2015 with Mason Lankford of Folk Family Revival

Show Notes

"The Art of Creation with Lincoln Durham"

In this episode, we dive deep into the world of musical creativity with Lincoln Durham, a dynamic force in the country music scene. From his childhood beginnings to his evolution as an artist, Lincoln shares his incredible journey through life and music. With an open heart and a touch of humor, he reflects on the twists and turns that led him to embrace his voice and his craft.

Episode Highlights:

• Early Beginnings:
• Lincoln recounts picking up the fiddle at just four years old, encouraged by his father and grandfather.
• He shares his experience with the Suzuki method and how it laid the foundation for his musical growth.
• Despite his early struggles with reading music, Lincoln was driven by a deep love for the art form.
• The Osceola Opry & Finding His Voice:
• Lincoln’s childhood performances at the Osceola Opry were pivotal in his artistic development.
• Initially a shy fiddler, he reveals how the stage helped him transition into a passionate vocalist.
• A glimpse into his adolescent journey of searching for his artistic identity.
• The Moment of Self-Discovery:
• The turning point came when Lincoln embraced songwriting in his late teens, marking the beginning of his transformation as a true artist.
• He reflects on the vulnerability and self-reflection involved in developing his voice.
• Creative Process & Solitude:
• Lincoln discusses his year of "cocooning," a time spent in solitude and introspection that helped him hone his songwriting skills.
• He talks about the delicate balance between creating lyrics with depth and crafting melodies that captivate.
• Rock icons like Bob Dylan and Jimi Hendrix played a significant role in shaping his approach to songwriting.
• From Writer to Performer:
• Lincoln shares how his evolution from a solitary writer to an engaging performer unfolded over time.
• The challenge of balancing personal introspection with the energy of public performance.
• Collaborations & the Power of Community:
• He opens up about his recent collaborations with fellow musicians and how they’ve enriched his sound.
• The influence of the Austin music scene and the sense of community that drives creativity.
• Inspirations Beyond Music:
• Lincoln’s love for classic literature has a strong influence on his songwriting.
• He talks about his affinity for dark themes in literature, and how that translates into his unique blend of introspective lyrics and melodies.
• A Journey of Embracing Vulnerability:
• Lincoln reflects on his journey through the artistic landscape, learning to embrace vulnerability and navigate life's challenges.
• His advice for fellow artists: Embrace your path, no matter how unpredictable, and find beauty in both the light and the darkness.
• The importance of finding and embracing your artistic voice, even when it’s difficult.
• The role of introspection in refining creative work.
• How collaborations and community can elevate your sound and inspire new ideas.
• The power of literature, vulnerability, and personal experience in shaping meaningful art.

Listen now for an inspiring conversation with one of country music's most compelling voices, Lincoln Durham.

Chapters

• 00:09 - Introducing Lincoln Durham
• 02:00 - The Journey to Songwriting
• 12:49 - The Evolution of a One-Man Show: Collaborations and Influences
• 22:31 - Evolving Soundscapes: The Journey of a Musician
• 26:54 - The Creative Process: Finding Inspiration
• 32:21 - Austin's Music Scene and Personal Experiences

Takeaways

• Lincoln Durham's journey into music began at the tender age of four, sparked by his father's encouragement to play the fiddle, which laid the foundation for his lifelong passion.
• He reflects on the importance of creative solitude, emphasizing how a year spent in isolation allowed him to hone his songwriting skills and discover his true musical identity.
• Durham's approach to live performances has evolved, focusing on making each song uniquely compelling, ensuring that every moment captivates the audience's attention.
• Collaboration played a crucial role in his latest album, where he worked alongside seasoned musicians like Ray Wylie Hubbard, which enriched the overall sound and depth of his music.
• His songwriting process is deeply influenced by literature, particularly the darker themes found in classic authors like Edgar Allan Poe, which he embraces as part of his artistic expression.
• Lincoln acknowledges that he enjoys the darker, impending doom themes in his music, realizing that it's simply part of who he is as an artist, rather than trying to conform to lighter themes.

Mentioned in this Episode

• Lincoln Durham
• Ray Wiley Hubbard
• George Reif
• Band of Heathens
• Jacob Dylan
• Chris Robinson
• Courtyard Hounds
• Dixie Chicks
• Cowboy and Indian
• Tom Waits
• Black Keys
• Jack White
• The White Stripes
• H.G. Wells
• Cormac McCarthy
• James McMurtry
• Full Tones
• Steve Stto
• Twisted Hearts

Recommended If You Like

Country Fried Rock, Lincoln Durham interview, musician creativity, songwriting inspiration, fiddle Suzuki method, Americana music, live performance tips, music production process, dark lyrical themes, Texas music scene, independent music release, singer-songwriter journey, collaboration in music, evolution of sound, acoustic performances, Tom Waits influence, Bob Dylan songwriting, unique musical style, emotional songwriting, music industry insights

Transcript

Speaker A

00:00:00.800 - 00:00:21.520

Welcome to Country Fried Rock where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest this morning on Country Fried Rock is Lincoln Durham.

A record that I got in the mail and was waiting for and haven't taken it out of the CD player in my car yet. Good morning, Lincoln. Thanks for being with us on Country Fried Rock.

Speaker B

00:00:21.520 - 00:00:23.120

Well, thank you guys for having me.

Speaker A

00:00:23.200 - 00:00:25.600

We're glad to. How'd you get into music originally?

Speaker B

00:00:25.990 - 00:00:41.510

Well, originally my dad got me into playing the fiddle when I was four years old. Yeah, I started playing the fiddle, you know, little tiny toy looking fiddle. It was my dad, my grandpa, actually.

And it just kind of started from there and snowballed for 20 years or so.

Speaker A

00:00:42.070 - 00:00:45.510

So were you playing like Suzuki method or was this family taught?

Speaker B

00:00:46.070 - 00:01:09.420

You know, it's funny that, you know, that it is. It was actually the Suzuki method. Yeah, they. I, in fact, I even forget that that's what it was. But that, yeah, that is, it was this little.

I can't read music. Unfortunately. The Suzuki method, for those that don't know, is basically like. It'll say like an A over A1.

What it is is it means you play the A string with your first finger, you know, and that's how I learned how to play.

Speaker A

00:01:09.740 - 00:01:10.940

But you stuck with it.

Speaker B

00:01:11.100 - 00:02:00.400

I did. You know, I was the type where I'd stuck with the fiddle for a long time, but I never really latched onto it.

I did play it for goodness, probably 15 years or so. You know, it was one of those things where I was four years old. It was kind of selected for me. And so I never really.

It wasn't later in life, you know, almost recently, that I actually really embraced. It's the same thing, you know, with kids that are put on piano when they're.

When they're young, you know, and then once they get 30 years old, they really wish they would have kept playing the piano. You know, that's kind of the way I am with the fiddle.

I wish I would have taken it more serious now because I brought it back into the live sets and it's a lot of fun, but I would be a lot better if I had kept it up. But yeah, it was just kind of the thing where it was chosen for me, so.

But I did do that for a while, but that kind of gatewayed me into the next musical segments of my life.

Speaker A

00:02:00.800 - 00:02:03.120

What was the first thing that you chose to do?

Speaker B

00:02:03.440 - 00:03:28.250

Well, a lot of people, in fact, I used to forget and think, you know, I went from that to Guitar. But actually I didn't. I started wanting to sing first. So when I was playing the fiddle, we had this little opry band.

And what it was was every third Saturday, I think of the month, there was this little place called Osceola Opry. And it was in a town called Osceola.

And it was this old, like a school house from, you know, like the turn of the century out in the middle of nowhere, this old schoolhouse. And every third Saturday we would play for all the, you know, kind of country people who would come out and listen.

And it was usually a packed house, you know, just folded chairs and things like that. And so that's what I played a fiddle at for about, for A while, for 10 years or so when I was pretty, probably eight to about 15.

And it was in that period that over time I started. I was really a shy kid and just kind of sat over there and played the fiddle. Didn't even look at the audience, kind of stood sideways and it was.

But it was during that time that I started, as I got to be more of a teenager, I started wanting to sing. And so that was the first thing I did was I started singing.

So I would play the fiddle, you know, and we were doing a lot of, like, I was playing a lot of Bob Wills and we did a lot of Hank Williams Senior and things like that. So I would still do all that.

But then when it came my time to sing, I would, I would just, you know, kind of put the fiddle under my shoulder and sing a song. And that's where the next chapter, I guess, kind of started.

Speaker A

00:03:28.490 - 00:03:35.770

Ah, so in this ocl opry, were you choosing to sing some original stuff? When did that come around?

Speaker B

00:03:35.930 - 00:04:21.920

Oh, no, that didn't come around until. I would say that came around until. Didn't come around until I was probably 8, 18 or 20. I did a lot of. Back then it was just covers. That's all we did.

I don't think anybody in the band, all the other guys were grown and I was, you know, like I said, I started when I was eight there. And they're all, you know, 50 year old men, you know, they were doing, you know, they were doing classic country covers.

I don't think any of them ever had an aspiration to write a song. Maybe they did, but I don't, I don't recall doing any, any originals.

And then when I, when I first started singing, you know, I was into the real standard kind of country thing back then. And so that, that's the kind of stuff I did. It was, yeah, around 18 that I started, I guess maybe I wrote my first song, which was.

Which was pretty terrible, if I remember.

Speaker A

00:04:22.960 - 00:04:26.000

What was leading to you to want to actually write your own song, though?

Speaker B

00:04:26.240 - 00:05:29.760

Well, I got into, you know, from those stages, from singing. You know, I picked up the guitar, really got obsessed with the guitar. And that's kind of what led me on the track, I guess, that I am now.

And I was listening to a lot of, you know, the 60s rock. I was listening to a lot of Zeppelin and a lot of Hendrix and then a lot of Bob Dylan.

And I think listening to a lot of Bob Dylan and a lot of Jimi Hendrix got me into. Even though. Well, Dylan, you definitely think of, you know, as a songwriter. Hendrix, you know, not so much.

I don't think people usually classify him as someone who writes songs, but those were the two that kind of inspired me to start writing. And so that's. That's when I started to write. And the first songs, you know, were very kind of inspired by that.

So they were kind of 60s feeling, you know, kind of psychedelic sounding, you know. Those were the first tunes that I wrote that, like I said, were not very good, I don't think.

But that was the first delve I had into or delving I had into songwriting. And I kind of didn't really take it seriously for a long while. I'd write one song a year, probably.

And then just all of a sudden, after other influences, I just started, you know, writing every day.

Speaker A

00:05:29.840 - 00:05:31.400

Because you wanted to or because you had to?

Speaker B

00:05:31.400 - 00:05:52.720

Because I had to, yeah. It was a thing where, you know, just. Just thing things in life and, you know, tend to kind of dictate other things. And I just.

I started writing kind of as an outlet for, you know, feelings and for emotions and things like that. And once I started doing that, I couldn't stop.

Speaker A

00:05:53.200 - 00:05:58.100

And so when you were writing these, were you performing on them or were you simply for yourself?

Speaker B

00:05:58.740 - 00:06:58.110

I wasn't performing yet. I went through this little phase of kind of a cocooning kind of a thing where for about a year I didn't. I lived by myself. And I really.

I look back at that and those days, and that was where I kind of, I think, really became, you know, my own. Became what I was going to be. And, you know, just. I mean, I would barely, rarely see anybody. You know. I mean, I was just. I have a tendency. I can be.

I'm married now, but I could be a recluse very easily. I was a recluse then. I would literally go Maybe two weeks without. I would talk to the person making my food or something, and that was about it.

And I just did a lot of writing, and the intent was to perform it eventually. It wasn't really just to write, just to get it out. That was a portion of it, too. But it was also with the intent of.

I just kind of woodsheded for the year and just really practiced my guitar, wrote a lot of songs, you know, tried to come back out a lot more fierce and a lot, I guess, different from what I was doing.

Speaker A

00:06:58.350 - 00:07:02.910

So it was an intentional focus on finding where you wanted to be.

Speaker B

00:07:03.230 - 00:07:23.710

It was. It was. It was definitely, you know, just. Just kind of revamping, resetting, you know, with my whole outlook on everything.

And that really is what set me on the course that I'm on now. I attribute that little cocooning process.

I mean, I don't think I would be at all, or to be doing at all what I'm doing now if it hadn't been for that. So I'm very grateful for that.

Speaker A

00:07:25.440 - 00:07:26.640

What helped you in that process?

Speaker B

00:07:29.040 - 00:08:30.220

I think just the solitude, you know, being alone with my own thoughts for the first time in 20 some odd years was, I think, the perfect thing, because I was the person who went through life, you know, pacifying my mind with TV and with just noise of any kind. If. If I'm sitting. If I was sitting at the house doing something, no matter what it was, I would.

Would have a TV going, noise, anything, you know, never read. And now, you know me, I read an insane amount. You know, I'm reading constantly. I don't own a tv, anything like that.

And it was mostly because of that. Going through the Year of Solitude. Like, literally there was no noise, you know, in the house, There was no tv. And I just.

I would read books, I would write. And that's still what I do now. You know, not quite so so much as when I was alone, but that's what I do now. And so I think that's.

I think it was the solitude of the whole thing and just being forced to be, you know, faced with whatever I had, you know, is what kind of made the turn for me.

Speaker A

00:08:30.860 - 00:08:31.820

What do you like to read?

Speaker B

00:08:32.300 - 00:09:10.600

You know, I'm a bit. Well, I love classics, so I usually always revert to that. You know, I'm a big. My writing style is very kind of dark and all that stuff. So I love.

I read a lot of, you know, Poe, so I'm always going back to that. I've got a giant book of Poe that I Just.

I revert back to, like, once a year and I just start reading, you know, And I've never made it through it all because it's. It's the size of three Bibles, it seems. But I just. That's exactly. That's what I'm reading now. You know that stuff. And read a lot of, you know, H.G.

wells. I like that. You know, I was a big Lord of the Rings guy. Newer stuff is, you know, I like Cormac McCarthy a lot.

Speaker A

00:09:10.600 -...

Summary

From 2012: Brett Anderson from Ha Ha Tonka drops some serious wisdom on the creative journey of music-making, emphasizing that the band's evolution is all about the collective influences that blend into their sound. He spills the beans on how their roots run deep, tracing back to childhood memories filled with bluegrass, Motown, and Southern rock vibes that shaped their musical DNA. As they reminisce about their early days jamming in high school talent shows, it’s clear that experimentation and growth have been the name of the game, especially with their latest album, Death of a Decade. The crew chats about the magic of harmonies, how a goofy moment inspired by Anchorman led to a signature sound that really got them grooving. They’re not just about laying down tracks; they’re all about the vibe of live performances, connecting with audiences, and crafting songs that resonate, all while keeping it as real and raw as possible.

Show Notes

Let’s Dive into the World of Roots Music, Ha Ha Tonka Style

The episode kicks off with a laid-back, nostalgic stroll through the musical roots of our guest from Ha Ha Tonka. Here’s how it all unfolds:

• Our guest paints a warm picture of childhood summers at the Lake of the Ozarks.
• The soundtrack? A mix of bluegrass, southern rock, gospel, music that practically floated on the lake breeze.

At home, his parents played DJ:

• Mom: Hardcore country and classic Motown
• Dad: Southern rock, all day long

That eclectic mix set the stage for what would become a pretty unique musical identity.

• It all changed in high school when he picked up a guitar.
• He started with covers, but it wasn’t long before he dipped into writing original songs.
• Those early jam sessions were where the seed of the Ha Ha Tonka sound really started to sprout.

• Fast forward to Missouri State University, where music-loving minds met.
• What started as casual jam sessions turned into something much more serious.
• Soon, it wasn’t just about playing music. It was about making something real.
• Their debut album took shape, a blend of their shared influences and new ideas.
• Signing with Bloodshot Records? That was the moment the hobby turned into a hustle.

The band leaned into their rootsy sound, experimenting with:

• Tight harmonies
• Acoustic-meets-rock arrangements
• A storytelling vibe that felt both grounded and fresh
• Their music became a reflection of where they came from, and where they were headed.

The conversation turns to their latest album, Death of a Decade.

• The guest talks about growth
• More collaboration within the band
• Trying new instruments and textures
• A more mature, layered sound
• There’s a buzz about what’s next: new ideas, new songs, and more stories waiting to be told.

This episode isn’t just about a band. It’s about the journey of becoming one. From Ozark summers to college jam sessions and beyond, Ha Ha Tonka’s story is as rich and rootsy as their sound.

Chapters

• 00:00 - Introduction to Country Fried Rock
• 05:40 - Finding Our Sound
• 07:22 - Finding Their Sound: The Journey with Mandolin and New Influences
• 16:18 - The Creative Process of Song Development
• 21:02 - The Evolution of Live Performance
• 24:54 - Exploring Themes in Music Creation

Takeaways

• The podcast dives into how roots music shaped the guest's childhood and influenced their musical journey, highlighting the significance of family musical traditions.
• He discusses the band's evolution from casual college jam sessions to a more serious approach in pursuing a music career, showcasing their growth and commitment.
• The conversation reveals how the band's diverse musical influences come together to create their unique sound, emphasizing the importance of collaboration.
• They reflect on their experiences with different producers, exploring how these relationships impact their creative process and sound development.
• The guest shares insights into their live performances, detailing how audience energy and venue atmosphere can significantly influence their shows and setlists.
• They tease future creative directions, hinting at potential new instruments and thematic explorations for their next album, showcasing their continuous evolution as artists.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Ha Ha Tonka
• You may also enjoy this conversation from 2015 with Sam Lewis
• Toss a few in our Tip Jar!

Mentioned in this Episode

• Ha Ha Tonka
• Bloodshot Records
• R.E.M.
• New Country Rehab
• Full Tones
• Steve Soto
• Twisted Hearts

Recommended If You Like

country fried rock, Haha Tonka, roots music, bluegrass music, southern rock, musician interviews, songwriting process, creative inspiration, acoustic instruments, live music performances, mandolin in rock, indie music bands, music industry insights, touring experiences, harmony vocals, original music, music influences, talent shows, music collaboration, new music releases

Transcript

Speaker A

00:00:00.640 - 00:00:12.880

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 is from Haha Tonka. Welcome to Country Fried Rock.

Speaker B

00:00:13.040 - 00:00:13.840

Thanks for having me.

Speaker A

00:00:13.840 - 00:00:16.880

Appreciate you being with us. How did you get started in music as a kid?

Speaker B

00:00:17.840 - 00:00:49.100

Well, me personally, I grew up in a suburb of Kansas City mostly. I had a lot of my parents listened to a lot of roots music.

My grandparents a house at the Lake of the Ozarks which is in central southern Missouri and spent a lot of summers down there coming from then listening to a lot of, you know, bluegrass and southern rock and lots of gospel and things. So for me growing up as a kid, it was just mostly about harmonies and acoustic instruments and that's kind of what I was exposed to at a young age.

Speaker A

00:00:49.180 - 00:00:51.020

What kind of bands did your parents listen to?

Speaker B

00:00:51.180 - 00:01:18.070

My mom was. She was actually mostly into Motown, but she also was a big hardcore country fan, I would say early country, Patsy Cline, things of that nature.

I also specifically remember her listening to Bonnie Raitt actually was a big, big influence for me as a young kid. My dad was mostly majority of stuff going to be like Southern rock, 70s type things. Bruce Springsteen was a big influence for him.

Speaker A

00:01:18.310 - 00:01:22.790

When you were at your grandparents place at the lake, your grandparents were into the bluegrass and stuff too?

Speaker B

00:01:23.240 - 00:01:40.360

Yeah, yeah. My grandpa, he listened to a lot of. And honestly I didn't really know who I was listening to, but he had a.

Had an old reel to reel player that was on constantly down there. Lots of the bluegrass stuff. I'm not exactly sure who he was listening to, but I do remember thoroughly enjoying enjoying a lot of the music.

Speaker A

00:01:40.360 - 00:01:44.040

So that's cool. So at what point did you start getting into music then?

Speaker B

00:01:44.040 - 00:02:04.950

I mean I was always felt like I had a big connection with it at a younger age, but didn't start playing any instruments until I was in high school.

I picked up a guitar when I was probably about 13 or 14 and had a friend of mine who kind of knew how to play and just taught me sort of the basic things. And then I just kind of taught myself the rest as the years went on.

Speaker A

00:02:04.950 - 00:02:09.950

So were y' all always writing original stuff from the beginning or were you learning other people's music at first?

Speaker B

00:02:10.430 - 00:02:27.460

A little bit of both. I always tried writing in earlier stages, but I never was satisfied with what I was doing. So I tried to pull in a lot of.

Try to maybe kind of mimic some, some of my earlier influences, Neil Young and Pixies and things like that.

Speaker A

00:02:28.180 - 00:02:31.060

And so what Led to you performing for others.

Speaker B

00:02:31.700 - 00:03:14.290

Honestly, it just was kind of a gradual progression. And really, in high school, there wasn't too many musicians the high school I went to, but there was always a talent show.

And so my junior senior year, started a little tiny band there and performed at the talent show. And then as I went to college, met more people that were interested in music. That's where I met the rest of the guys in Haha Tonka.

I met Brian and Luke in college at Missouri State University in Springfield.

And I was in another band at the time, but I had seen them kind of play a couple shows around town in the formation they were in at the time and asked if they needed another member. And that's kind of how that all started. That's cool.

Speaker A

00:03:14.840 - 00:03:16.600

So what did you play in those talent shows?

Speaker B

00:03:16.600 - 00:03:22.120

Oh, what did I play? What kind of music or what songs? If you remember, they were all pretty much original.

Speaker A

00:03:22.200 - 00:03:22.840

Oh, really?

Speaker B

00:03:23.160 - 00:03:42.300

So, yeah, at the time, in high school, it was more. We were kind of going through a Weezer phase. We were doing a lot of covers then. But in college, it was pretty much all original stuff.

I was really starting to kind of figure out what kind of style of musician I was in college. So I was definitely doing a lot more original writing then as y' all.

Speaker A

00:03:42.300 - 00:03:46.620

Got together then in college, where did that start for you all, creatively?

Speaker B

00:03:47.180 - 00:04:03.740

Well, at first, I. It wasn't as creative as we all thought it would be. It was more kind of like we really just enjoyed playing live.

And we like the whole aspect of people watching and. And we like to, you know, party and stuff like that.

Speaker A

00:04:03.740 - 00:04:04.140

Sure.

Speaker B

00:04:04.540 - 00:04:40.700

Once we graduated college, we all kind of.

When Lennon finally joined the band, our drummer as well, is when we all kind of tried to get more serious about making a career out of it, we really kind of fell down and made a game plan on what we wanted to do. We made our first record on our own. We took out a loan and got a van and tried to do a little bit of touring in the Midwest.

And eventually we got hooked up with Bloodshot Records out of Chicago. And we really enjoyed the first record that we. We made. And so they ended up signing us and putting it out. And from there it was kind of.

We kind of really started to get deeply into the music industry.

Speaker A

00:04:40.940 - 00:04:52.220

In those early days.

When it went from that first record on your own to the original relationship with Bloodshot, what was changing for you all because that there's so much evolution in a band in the early days?

Speaker B

00:04:52.860 - 00:05:32.550

Yeah, Honestly, I think for us, it was Pretty neat because we all have completely different influences. And I think that's kind of what we were figuring out when we started writing our first record.

And as we grew and started writing our second and third record, you can kind of hear that we all kind of got more comfortable in our skin as artists. So we all kind of know which areas are strengths for each individual when it comes to writing a record.

And I feel like on this, our last record at the decade, we really harnessed all of that. So the growth that we got to was all based on these influences all meshing together and finally coming out into.

Into a form that we thought fit for Haha Tonka.

Speaker A

00:05:32.550 - 00:05:40.220

So was there a particular song in the process or a stage in the process that you all were finally like, yeah, yeah, we finally got our groove here?

Speaker B

00:05:40.300 - 00:06:22.340

Well, actually, it was really. Yeah, it was kind of earlier on when we were writing the first record, we all were just kind of joking around.

When we were on the road one time and we had just watched the movie Anchorman, there's a part in the middle of that movie where they do like, Skyrockets in Flight or whatever, they do this harmony song. And we.

And we just jokingly in the van one day, like, tried to figure out parts and we all got comfortable enough with it to where we were like, geez, you know, this actually, it sounds decent, so we should maybe try to, you know, incorporate harmonies in our music.

At that point, I think was when we really established our specific sound, was when we all knew that we could actually contribute vocals and do it live in a way that is pleasant to the ear, which most of the time happens.

Speaker A

00:06:23.220 - 00:06:27.940

As you kind of had that aha moment as a group. Did you then start testing that on the road?

Speaker B

00:06:28.100 - 00:07:09.470

Yeah, yeah, we did.

Once we kind of got the songs that we were seeing together, and on the first record, there's only a couple, really, that we did a lot of harmonies on. But Hangman is the acapella tune that we drew on there, which. Which at the time we didn't know if we were gonna.

We were getting a singer to be able to actually pull it off live. But the more we rehearsed it on the road and live show, we started to get much more comfortable with doing that.

And then on this last record, Death of the Decade, we. We really told ourselves as we were writing all the songs that we should just sing every. At all times.

Like everyone should listen to each song and sing whenever they want, and we should just record as much vocals as we possibly can. And I think that Turned out really well.

Speaker A

00:07:09.470 - 00:07:22.150

So as you all have been able to move forward and keep the harmony and the vocal and the focus on that, you've developed a pretty distinct sound in terms of your instrumentation as well. Did finding that sound with your instrumentation come as easily?

Speaker B

00:07:22.550 - 00:08:20.730

Well, I don't know about easily, but it was sort of kind of an accident because we were playing south by Southwest a few years ago, and we were at this after party, and there was an upright bass and, like, a banjo and a mandolin and acoustic guitar. And I at the time did not know how to play anything else but a little bit of keyboard and some acoustic guitar or some guitar.

And a friend of ours, kind of. He knew how to play mandolin, and so he's like, oh, you know, we should play some songs or whatever.

So he handed the mandolin to me and just showed me a few chords, and we did, like, this bluegrass version of all these cover songs that they knew, and it was pretty hilarious. But I had grew an interest to play mandolin at that point, and so I kind of dug a little deeper into that, and that's where the mandolin came in.

And whenever we were writing those songs for Death of a Decade, I kind of. I guess, sort of came natural to me for the parts, I guess, because I still don't really know exactly what I'm doing on mandolin, but I think I can.

I'm to a point where I can at least write a melody or play.

Speaker A

00:08:20.730 - 00:08:29.220

A few chords well, so were you looking at any particular other band or type of music that incorporated mandolin into more rootsy rock?

Speaker B

00:08:29.460 - 00:08:42.620

You know, that's funny. We actually really weren't. It was. It was just kind of something that was there at the time. And I feel like there really isn't a whole lot of.

Of bands that put mandolin into kind of what we're trying to do.

Speaker A

00:08:42.620 - 00:08:42.940

Right.

Speaker B

00:08:42.940 - 00:08:45.860

I mean, the best example, I guess, would be maybe R.E.M.

Speaker A

00:08:46.180 - 00:08:47.460

Yeah, that's where I was thinking.

Speaker B

00:08:48.020 - 00:08:52.180

Yeah, with some of their stuff, which is. We got compared to that quite a bit, which is great. Right.

Speaker A

00:08:52.260 - 00:08:52.740

Thank you.

Speaker B

00:08:52.740 - 00:09:12.640

Because we are. We are big REM Fans, especially Brian. He's probably the biggest REM Fan. But, yeah, it was cool to get compared to that.

And I think it was also, you know, we felt like we were really creating something original with adding that instrument to our style of music. So. Hey, this is Brett from Haua Tonka. You're listening to Country Fried Rock with.

Speaker A

00:09:12.640 - 00:09:18.440

Death of a Decade. And being on the road with that record in particular. What sort of new audiences opened up for you?

Speaker B

00:09:18.440 - 00:10:07.990

All we Try to tour with, with all different types of bands. So for us it definitely opened up a different audience.

But I don't know if it was specifically because of the music that we were playing or if it was specifically because of the audience that we were in front of.

We've toured with a lot of different types of bands, anywhere from like the Violent Films all the way to this last band we went on tour with Tea Leaf Green, who was actually kind of a jam based band. And we, which is different for us...

Summary

From 2012: Angela Easterling dives into the delightful chaos of her creative journey, showcasing how her latest album, a unique blend of Americana and French flair, came to be. She shares the quirky backstory of translating her songs and the unexpected challenges that arose, like accidentally asking a food truck for apple juice instead of directions in Paris. Angela reflects on her evolution as an artist, tracing her roots back to her childhood and her diverse musical influences, all while keeping it real with a touch of southern charm. The conversation takes a humorous turn as they discuss the intricacies of language and the pitfalls of translation, all while celebrating the growth that comes from stepping out of one’s comfort zone. With a laid-back vibe, this episode encapsulates the joy of music and the serendipitous moments that inspire creativity, making it a must-listen for anyone who appreciates the art of storytelling through song.

Show Notes

Angela Easterling is back on Country Fried Rock, sharing the laid-back journey of her musical career that’s taken her from the quiet corners of South Carolina to the buzzing streets of Los Angeles. Here's a breakdown of the conversation:

• Latest Project: Angela’s new album is a French surprise! Despite fans initially raising an eyebrow at the idea of an Americana album in French, she’s fully embracing the unexpected and showing off her linguistic chops.
• Creative Process: The album’s inspiration came from her collaboration with Mahayan, a French professor. Together, they took Angela’s song "One Microphone" and turned it into "Unmie Coffin," and that was just the beginning!
• Lost in Translation: Angela shares some hilarious translation mishaps, including a memorable moment where she accidentally ended up asking for apple juice in Paris. Proof that even seasoned artists can find themselves in some funny situations.
• Reconnecting with Roots: After bouncing around LA and Boston, Angela moved back to South Carolina, where she tapped into her country roots in a way she hadn’t before. This move has brought a new depth to her writing and to her connection with country music.
• Full Circle Moment: By embracing her country influences, Angela feels she’s found her truest sound yet, and it’s a reminder that sometimes, going home leads to the best discoveries.

The episode is packed with laughter, inspiration, and a whole lot of musical heart.

Chapters

• 00:09 - Introduction to Angela Easterling
• 04:34 - Challenges of Translating Song Lyrics
• 07:18 - The Journey into Music
• 13:40 - Reconnecting with Roots: The Journey Back to South Carolina
• 20:00 - The Transition to Music Production
• 26:12 - The Evolution of a Musician: From Local Roots to National Stage

Takeaways

• Angela Easterling's journey into music reflects a serendipitous blend of personal experiences and cultural influences.
• The creative process of translating songs into French illustrates a unique challenge that enhances songwriting skills.
• Returning to South Carolina reconnected Angela with her roots, significantly shaping her musical direction and identity.
• Working with friends and collaborators in a supportive environment fosters creativity and experimentation in Angela's music.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Angela Easterling
• You may also enjoy this conversation from 2015 with Mic Harrison
• Throw a few in our Tip Jar!

Mentioned in this Episode

• Furman University
• Nashville

Recommended If You Like

country music, Americana music, Angela Easterling, songwriting inspiration, French music album, creative collaboration, Nashville music scene, South Carolina musicians, music production, Blacktop Road album, musical theater influence, folk music scene, open mic performances, country music roots, touring musicians, indie music, songwriting process, bilingual music, music career development, music industry challenges

Transcript

Speaker A

00:00:00.800 - 00:00:14.800

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. Today on Country Fried Rock, we're talking with musician Angela Easterling. Thanks so much for being with us.

Speaker B

00:00:15.200 - 00:00:17.200

Oh, my pleasure. Thanks for having me.

Speaker A

00:00:17.520 - 00:00:29.320

Absolutely. Well, this is a pleasure.

I really enjoyed your record before your most recent one, Beguiler, and then you posted that you were doing a record in French, and I thought, huh, probably.

Speaker B

00:00:29.320 - 00:00:30.360

What most people thought.

Speaker A

00:00:31.160 - 00:00:37.800

It's a great record, though, now that I've heard it. So I do want to get to that of how on earth this came about.

Speaker B

00:00:38.360 - 00:04:02.150

Yeah, well, my second album, Blacktop Road, which was released in 2009, had one song on there that was a bonus track that appeared in both English and French. In English, it was one microphone. In French, it was Unmie Coffin.

And basically that came about because my good friend here in South Carolina, Mahayan Bessie, she's from France and she's a French professor at a college here at Furman University. And she and I are really good friends. And we translated that one song because I thought that that song might be kind of interesting to do in French.

I kind of had the idea to do that song in French, and so, you know, just to kind of see if it would work. And we translated it and it actually turned out really good.

Once people heard it, they would ask me, was that song originally in French or was it originally in English? Because it. It seemed kind of seamless. And we just enjoyed working together so much.

And it's interesting for me because I've never worked with a co writer. All of my songs I've written by myself. This was really, like the first time I've ever collaborated with someone.

So we worked together to come up with a whole album's worth of songs. And then I kind of had it on the side. You know, I was just thinking, well, when I get some time, I'll do this project.

And lo and behold, I was looking at a 2012 calendar about last October of 2011, and I saw that this year, Valentine's Day was on a Tuesday, which is, you know, the day that albums are released, Tuesday on Valentine's Day. And I realized, you know, only chance I would have to release an album on Valentine's Day if I did it right now.

So I was like, oh, you got to do the CD really quick. And so I didn't even go in the studio until the day after Thanksgiving. Wow. And, yeah. And usually, you know, it's at least six months from start.

You know, just everything that goes into an album. So all of that was really sped up. I started recording it the day after Thanksgiving.

We worked through it throughout December, and I was even sick while we were recording. I had bronchitis. But lo and behold, we went to Nashville and mastered it on January 2nd, and it was done.

And I got it done in that rapid of time and released it. And, you know, it's just kind of a side project for me. It's something I wanted to see if I could do, you know, something that I thought would be fun.

It was a real challenge, you know, to try to, you know, express yourself in another language, singing and get album pronunciation right and everything. So, I mean, I don't know if people are going to catch on to this album. I don't know.

You know, a lot of people were kind of like, americana album in French, okay. But I think it's just an interesting thing to do.

I think it's, you know, anytime you work on writing in any kind of way, it only helps you as a writer. I think it's going to help strengthen that writing muscle for me for when I go back to writing in English.

And I just hope that, you know, it seems like so far people are liking it and getting into it, and so, you know, we'll see what happens. But mainly this was just something that I did for fun. When I was in Paris, I was looking for Jeu de Palme, which is a famous park there.

And I was looking all over. I couldn't find it near the Champs Elysees. And I was going around asking people, and they kept pointing me in direction, direction, direction.

And finally I realized they were pointing me to, like, a food truck. Figured, oh, well, they must. I must be supposed to ask the food truck guy where it is. So I go up to him and I ask him, ouai, jeu de paume.

And he hands me a can of juice, Jus de palm. Jus de palm. And he's like, oui, jus de palm. Apple juice.

Speaker A

00:04:02.150 - 00:04:06.510

Apple juice. That's hysterical.

Speaker B

00:04:06.510 - 00:04:57.360

All these people thought I was going around all over the Champs Elysees asking people for apple juice. My friend Marianne actually tells her class about that. I had a lot of funny mistakes too, too, just when writing, you know.

And some of them I couldn't repeat on the radio, right?

And I thank goodness for Marianne, because I would have said some really bad things in this album, you know, like one of them that I probably could say in the song bienna May, I said, je te sans partout. And to me, I was trying to say, I feel you everywhere. Supposed to be really romantic. I feel you everywhere.

And Marianne says, no, really, what you're saying when you say that is, I smell you everywhere. So, you know, so it's good to have a. It's good to have a French speaker working with you if you're gonna do something like that.

Unless you're trying to put out a comedy album.

Speaker A

00:04:57.360 - 00:05:07.640

But, you know, there's. There are problems in translation like that. Like, je tamien means I like you. Doesn't mean I love you a ton.

But if you were to translate literally, it wouldn't come across.

Speaker B

00:05:08.280 - 00:05:54.620

That's right. And other things, too. Like in French, you wouldn't say, I feel blue, or this makes me feel blue. There's no feeling of being blue right there.

So, like, you know, things like that. There was another one in a song. I had this song called jouer, which means toy.

And I have a line where I wanted to say, you pushed every button to see what I could do, because the guy treats the girl like a toy and throws her away. So I had a line that says, you push every button to see what I could do. And so I said bouton. But in French, they don't use, like, bouton button.

That's like a button on your code. They don't say a button like on a remote control. They say command. They do say bouton for pimple, for acne.

I had said, you pushed my pimples to see what I could do. Yeah.

Speaker A

00:05:54.620 - 00:05:57.420

And there's no way you could have known that.

Speaker B

00:05:57.660 - 00:06:10.620

No way. No way. I mean, maybe if I had lived there, which I. And I traveled there a lot. But, you know, little things like that.

I mean, you can know the vocabulary word, but not really knowing how it's used in the common vernacular.

Speaker A

00:06:10.780 - 00:06:11.180

Right.

Speaker B

00:06:11.810 - 00:07:14.100

And then another thing, too, is just. You don't want it to sound like a translation. You know, I didn't want these things to sound. I wanted it to sound really natural.

I didn't want it to sound forced. And sometimes, you know, there's a lot of words in English you can cut out. We don't have to say the all the time.

We don't have to say an article, but you have to in French. And so that presented a challenge, too, with timing things out and having things fit the phrasing of the song.

So there was a lot of really unique challenges that it presented. But to me, it was fun. It was like a puzzle. It's like trying to fit all these puzzle pieces together until you found the right fit.

And I'm so proud of it. I'm just really proud to have this project under my belt. You know, if people listen to it and like it and all, that's good.

But just for me, the fact that I know that I did it and I'm really proud of it, that means a lot to me. Just to know that I have an album of my own songs in French. It's. I think it's a really cool accomplishment and I feel really good about it.

Speaker A

00:07:14.260 - 00:07:18.500

So then let's mess up this chronology completely. How did you start in music originally?

Speaker B

00:07:18.500 - 00:08:39.199

Like, as a kid, I've always sung. When I was a very little kid, I sang around the house and make up songs, and I always wanted to play the piano. I was obsessed.

And I would try to play any piano I came in contact with because my family didn't have a piano. I sang in church, and then when I was a little bit older, maybe about. Well, I sang in school choir too, and played the clarinet at school.

But then when I was about 12 years old, maybe 11 or 12, I started to get into theater. And so I was doing, like, a lot of musicals and stuff like that.

So pretty much through middle school and high school, I was doing a lot of singing, but on stage, but mostly, like, theatrical. And I kind of got away from the musician side. And then when I was in college, I went to Emerson College in Boston, and I was a musical theater major.

And my whole goal was to try to go to New York and be on Broadway. But at that point, I was really into, like, the Indigo Girls and stuff, which I actually still am. I decided I wanted to try to write songs like them.

So when I was a freshman in college, I got my first guitar and kind of started trying to learn how to play it and started writing songs and playing in coffee shops and open mics around Boston. And at that point, my path kind of veered.

Like I said, I had that I wanted to do the whole stage thing, but once I started writing my own songs, it kind of took me down a different road. I wound up pursuing that more, pursuing more of my own music.

Speaker A

00:08:39.679 - 00:08:45.439

Well, in Boston, at least, now has a pretty vibrant folk scene within that. Was that the case or at least for.

Speaker B

00:08:45.679 - 00:09:03.719

Yeah, definitely. Yeah. The very first place I was playing was club passing, like Joan Baez and, you know, people that played back in the day.

And there were some really great. I mean, when I was in college going to the open mic at Club Pass team, another regular open mic club passing person was Mary Gaucher.

Speaker A

00:09:03.719 - 00:09:04.239

Oh, wow.

Speaker B

00:09:04.239 - 00:09:46.450

Like, every Week she was there. And a lot of times I was, like, just scared to death and trying to get my nerve up to get on stage.

And I would a lot of times leave before I even got my turn. But she was there every week singing her songs.

And like, when, you know, when she took off and got really popular in Americana stuff, I was like, oh, my gosh. Like, I remember her from open mic at Club Pass Aim. This is Angela Easterling on Country Fried Rock.

It was like a really cool place to just be getting started and figuring out, you know, what you're doing. And it was definitely a good, you know, a good time to be doing that. I mean, that was.

That was like Lilith Fair and all that kind of stuff was really big, the late 90s. And so it was. It was a good time to be kind of figuring out what you're doing in music.

Speaker A

00:09:46.770 - 00:09:55.730

As your music developed through that time, what led to the changes for your music? Did you have geographic changes that led to the changes in music or the other way around?

Speaker B

00:09:56.370 - 00:11:55.230

Yeah, when I was a senior in college, I moved out to Los Angeles and finished college out there. And so that was a major geographic changed for me. I'd never even been to California before.

And then I was living there and going out and, you know, trying to get gigs and playing out there.

And when I was out there and I was so far from home, that was where I really started listening to country music, because I never listened to that growing up. And I started listening to, like, Emmylou Harris and Johnny Cash and Hank Williams and Loretta Lynn and the Carter Family and stuff like that.

It was really funny.

I was driving around, like, Laurel Canyon and Coldwater Canyon and stuff and listening to the Carter Family, you know, I started to really take my music from just the regular kind of folky thing into much more of a country thing. And at that point, I hadn't really. I didn't know about Americana, the Americana Music association or anything like that.

You know, I was just doing like, a really traditional country. And there was a really great. And I guess there still is the thriving sort of alt country scene out in la.

Kind of this cult of Graham Parsons thing going on out there. And it was really cool scene to be a part of. I had so many wonderful friends and people that I worked with.

And, you know, Lucinda Williams would come out and Dwight Yoakum would come out, and Victoria Williams would be there and Tim Easton and all these great artists, Ann McHugh, the guys from the band Stone, Honey.

And, you know, it's just a really cool thing to be a part of, and everybody kind of playing together and chipping in and playing in each other's bands and. And so that was really fun. And that's where I recorded my first album, Burning Her Wings. So I, you know, I just loved it.

I loved the life in la and I loved being a part of that music scene out there. And that.

That was really what was my huge influence in going in more of a. Ironically, even though I'm from South Carolina, living in Los Angeles was what made me take my music in more of a country direction.

Speaker A

00:11:55.310 - 00:12:01.550

It's kind of like finding a completely different environment seems to bring out...

Summary

From 2012: Patrick Sweany gets real about the Nashville music scene, diving deep into his journey from coffee shop gigs in Ohio to making waves in the heart of Music City. He spills the beans on how the Basement became his home base and his Nashville family, crediting them for his leap into this vibrant community where creativity flows like sweet tea on a hot day. Patrick reminisces about the electric nights at showcases, where he learned that every performance is a chance to connect with an audience, even if they’re more interested in the game on TV. The convo rolls into his evolution as an artist, revealing how he honed his craft through countless late-night sets, proving that hard work and passion can make dreams come true. Tune in to hear how he navigates the ups and downs of the music biz, all while keeping it real and relatable in a town that can be as tough as a two-dollar steak.

Show Notes

Diving into the vibrant world of music with Patrick Sweany

Sloane Spencer and Patrick Sweeney kick off a laid-back yet insightful conversation about his artistic journey, starting with a pivotal night in 2011 at a Nashville showcase. Here's how the chat unfolds:

Nashville Roots:

• Patrick shares how his music career began at The Basement, a venue that’s close to his heart. The Nashville community, full of creative energy, gave him the support he needed to find his footing in the city.

From Ohio to Music City:

• He paints a picture of a young musician fresh from Ohio, navigating the highs and lows of live performances, all while trying to figure out his sound. It's a story of the hustle and heart of breaking into the Nashville music scene.

Creative Integrity in a Commercial World:

• The conversation takes a deeper turn as Patrick talks about the struggle to stay true to his artistic voice while the music industry often pushes for commercial success. It’s about balancing creativity and maintaining authenticity.

Formative Years in Kent, Ohio:

• Patrick reflects on how his love for music first blossomed in his teenage years, especially when he discovered blues and rock. A key moment in his journey, he recalls how these raw, soulful sounds ignited his passion for music.

Witty Banter on Musicianship:

• With a lighthearted tone, Patrick contrasts the serious musicianship he admired with the more laid-back vibe of some live performances. It’s a reminder that sometimes the best music comes from unexpected, casual moments.

The Evolution of Genre:

• The discussion cleverly touches on how genres evolve and the importance of staying authentic. Patrick talks about the challenges of finding your voice amid the pressures of fitting into predefined categories in the industry.

What’s Next for Patrick:

• The episode wraps up with Patrick teasing some exciting upcoming projects and collaborations. He leaves listeners eagerly anticipating the next chapter in his musical journey.

In the end, this episode of Country Fried Rock is more than just a look at Patrick Sweany’s path; it's a celebration of the community, creativity, and serendipity that shape an artist’s journey.

Chapters

• 00:09 - Introducing Patrick Sweany
• 04:51 - The Influence of Live Music on Musical Growth
• 10:55 - From Coffee Shops to Country Music: The Journey Begins
• 11:47 - The Journey of a Musician
• 21:40 - The Journey of a Musician: From Gigs to Records
• 25:06 - The Nashville Music Scene

Takeaways

• The podcast dives deep into the creative inspirations of musicians, showcasing how personal experiences, like moving to Nashville, shape their artistic journey.
• Patrick Sweany shares a heartfelt story about the Basement, describing it as his Nashville family and a pivotal point in his musical career.
• In the episode, they discuss the importance of live performances, emphasizing how a showcase can be a unique opportunity for musicians to connect with new audiences.
• Both speakers highlight the unpredictability of live music, noting that sometimes performances hit the mark and other times they don't, but consistency is key.
• The conversation touches on the significance of honing one's craft, with Sweeney explaining that singing is like building a muscle that requires consistent practice and dedication.
• Listeners learn about the nuances of Nashville's music scene, with Sweany revealing how the community supports artists and fosters collaboration among musicians.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Patrick Sweany
• You may also enjoy this conversation from 2015 with The Bones of JR Jones
• Toss a few in our Tip Jar!

Mentioned in this Episode

• Americana
• The Basement
• Dave Brown
• Chelsea's
• Nine Mile Records
• Kevin Gordon
• Magna Hand
• Steve Soto

Recommended If You Like

Country Fried Rock, Americana music, Nashville music scene, Patrick Sweeney interview, music creativity, independent musicians, music showcases, blues music, songwriter interviews, live music performance, Nashville musicians, Americana charts, music inspiration, touring musicians, music career journey, music venues in Nashville, folk music, songwriting process, music industry insights, Country Fried Rock podcast

Transcript

Speaker A

00:00:00.800 - 00:00:16.560

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. Patrick Sweeney, who I first heard at Americana in 2011 of an amazing showcase at the Basement.

Welcome to Country Fried Rock.

Speaker B

00:00:16.560 - 00:00:17.440

Glad to be here.

Speaker A

00:00:17.440 - 00:00:27.280

This is a treat for me. I'm always seeking a band that just kind of blows my mind when I go to their showcase in this year.

That night of the Basement was amazing and that your show was part of it.

Speaker B

00:00:27.520 - 00:01:12.860

Thanks. Yeah, you know, the Basement, actually, you know Mike Grimes and, you know, the folks at the Basement are like. They're like my Nashville family.

I mean, they're really. They're the reason I live in Nashville. You know, they were the only. Only club that would book us as a touring band and coming through.

And actually I've. Dave Brown, one of the owners, hooked me up with my landlord. Like, I'd driven down there was the only.

When I decided to move to Nashville, I drove there because it was the only place anywhere to go and to use their WI Fi and, you know, hang out and chase down my Craigslist dads for apartments and houses and stuff like that. And Every. I had 15 of them, and none of them worked out. Dave Brown was setting up the bar and he's like, hey, man, I think my old house is open.

Why don't you call my landlord? And, you know, a couple weeks later, we moved in.

Speaker A

00:01:13.020 - 00:01:13.980

That's fantastic.

Speaker B

00:01:14.060 - 00:01:44.080

Yeah, yeah, it's really cool. They're great there. And, you know, that was. They're awesome people. I think it's one of the best rooms in Nashville. We just walked out.

We got that showcase at that spot. You know, it was right.

You know what, Right after the Deep Dark woods and there was, you know, it was a huge buzz about them, so we were able to keep some more people in. And, you know, that's cool things about Nashville, man.

You know, I was able to, you know, get really, really good guys that were playing in the band that night. And yeah, it was just, you know, it was a really great night.

Speaker A

00:01:44.240 - 00:01:59.560

It was a great night. And I'm going to differ with you on that. I don't think it had to do with who came before after you. The performance itself was stunning, stellar.

Some people, when it. Some people, when it comes to a showcase, I think they're like, eh, five songs, whatever.

But sometimes for people like me, that's the only time I'm gonna hear a band.

Speaker B

00:01:59.720 - 00:04:55.880

Yeah. And that's, you know, doing these showcase things. I don't know. I guess I've got a perpetually a support act, you know, on. On a lot of tours. And I.

And so I feel really good about. I mean, not to, you know, oh, this is. Well, I'm great at this or, you know, anything like that.

I don't mean to be, you know, be egotism or not, but I really felt like we had it. We really had an on night that night. And it really. It was. It was great. And plus, you know, being able to.

Because I see that way, you know, like, opening slots and showcase spots. You know, it's the only time that you really get to reach, you know, the people that really sort of, you know, move and shake our little microcosm.

Case in point, this interview, it's something that. It's definitely a skill I tried to develop, but, you know, you just, you know, with performance, it's such a shot in the dark. Really true.

You know, sometimes, you know, you just. Things hit, sometimes they don't. You know, you just try to be consistent.

But, you know, I think John Radford was on drums that night, and Joe, you know, with Joe Manahan on second guitar. And that's, you know, anytime I get to play with Joe, it always. It always raises the bar. You know, he's just such a great musician and great friend.

Because my. My friend Josh Buskirk from West Virginia is recording at Joe's house right now. So they drove in last night and I had to get him.

Get him in the right direction and just did that. Or would get together, you know, dad would go to, you know, to Dad's practice and play after that until I was about 14 or 15.

I remember being into, like, all this stuff. And after football practice, I was in ninth grade and I played.

I had this Buddy Holly tape, and it had some bonus track or something like that on this little cassette tape that had a live thing of the surviving crickets. And they were played Little Richard's Keep A Knockin. It was just so awesome. It's like, oh, it's so cool, man.

You know, And I played it for a friend of mine, you know, in the locker room after football. Guys, he's like, you know, what's like country? Put that back away. And then just sort of back to my secret rhythm and blues life.

So I'm like, okay, you know, I just thought this was just to hit this thing, you know, this rockabilly kind of thing. What's wrong with that, right? So, you know, I was hanging out with my friends and listening to, like, you know, the first couple Metallica albums.

Stuff. And, you know, Poison was huge. Oh, yeah. Oh, my God. So that direct was happening. And, you know, it was cool, you know, if you're hanging out.

But, you know, I remember that was about the same time. I think that right around that time, for sure there, I feel like. And justice for all came out. That, like, changed.

Suddenly you could listen to heavy metal. It was obtainable, which was cool. I was really into that. But. But I was always just kind of doing my little folky blues thing.

And while that was going on, and dad was taking me to, like, to concerts and things like that then in Wadsworth, Ohio. I grew up in Mass, Ohio, but in Wadsworth, Ohio, there's a high school auditorium there, the O.J. work Auditorium. They would have bluegrass shows at.

I got to see Bill Monroe when I was about 11 or 12.

Speaker A

00:04:56.120 - 00:04:56.600

Wow.

Speaker B

00:04:57.160 - 00:05:40.980

And I didn't know who he was.

His dad had taken me to a couple of them, and you'd see some bands, and some bands were good and some bands weren't as good, but I really dug was all these guys that would pay their admission to get into the concerts and never watch it. They'd come in and they'd go down in the high school cafeteria and pick. Oh, yeah. And I was like, man, this is crazy. No one's watching.

These guys aren't watching the show. And then some of those guys were better than the bands that would, you know, be on.

I mean, I didn't understand a lot about, you know, like, how that sort of works. And that's just the de Rigger bluegrass. Yeah. But I noticed that at Bill.

And the Bill Monroe show was way more crowded, and those guys watched Bill Monroe. I was like, okay, this is different. And then, you know, later on, I realized who had seen, you know, the inventor of the music.

Speaker A

00:05:41.220 - 00:05:48.500

I love how you talk about learning to sing the way you sing, because I'm not sure I've had anyone who could be clear about that in that way.

Speaker B

00:05:48.740 - 00:06:29.220

I think anybody can sing, obviously. It's just. I really do. Some singers are better than others, you know, I mean, it's more what people think is pleasing.

I mean, it really is just a muscle, you know, like anything else, you can work it out. It'll perform different. People are wired differently. Like my mother, you know, I. You know, I say a lot about my dad.

You know, my mother's family's a lot of musical people. My mom was born in Liverpool, England. She came over to America when she was 20. Her sister married American service guy and moved to.

Moved to Ohio, you know, you're out of school at 15.

You know, at that time in England, you know, she lived with her mother going to work and her mom here move, she's like, you know, there's no opportunity for you here.

Speaker A

00:06:29.220 - 00:06:29.660

Wow.

Speaker B

00:06:29.660 - 00:07:31.710

To America. And she didn't want to go. You know, she was just a kid. Just terrifying to think what, you know, going to a different country when you're 20.

You know, mom jokes, she's like, if I still playing with golf. I never met her dad. He was gone by the time I was around. But he, he apparently was a really, really talented mandolin player.

And, you know, Liverpool, England, and you know, the post war, so it's a pretty rough city, you know, especially at that time, you know, as a shipping port. So he was, he was a docker drinking in the fight and, you know, just part of a lifestyle.

When I've been over to England, you know, people ask me, where you from? And I said, well, you know, my mom's from, from Liverpool. And, you know, I said, you know, was your granddad a musician?

So I never knew, but I knew he played mandolin and mom said that he could listen to a song and play it, but I don't really, so it's in there. So. Also made my mom a little bit wary, I'm sure, as a career choice, but mostly because she's worried about her boy drinking and whatever.

Speaker A

00:07:32.270 - 00:07:40.110

So how did you then get from gigging in coffee shops in Kent, Ohio, to ultimately what led you to Nashville, but there's some time in between?

Speaker B

00:07:40.510 - 00:09:21.210

Oh, a little bit, yeah. Well, by the time I graduated from college, I. I was working five nights a week. I had five gigs a week.

So it was killer, you know, I mean, I was working a regular job, you know, I was only going to school a couple days a week at that point. It took me like six years to get a bachelor's degree. It was terrible, really. And I'm not really joking.

I mean, it was definitely five and a half poor parents. So I. But, so, I mean, I was just mad for it and it was so I always had a gig and it was a great time, you know, that say we would have been.

That would have been, you know, early to mid-90s, you know, so the economy was great.

You know, the post Stevie Ray Vaughan thing had really opened up, you know, everyone with a little extra dough that, like music opened up a blues bar.

It was great for me because again, because, you know, they're like, oh, man, I can, you know, you know, I can't get a Band in here for 150 bucks, but I can give this guy 100 bucks. Yeah. And I think I'm rich. $25 increase and play a long time. And I just.

I always just learned to, you know, play long sets and then started to play some rhythm guitar with the local blues band. And I poached some of the guys out of that playing in my band. And we'd had a little trio, but I was probably 20. That's a little head.

I was well into my mid-20s before I put a band together, probably 26 or so. But I would also do that, you know, I would also sub with this band and I'd play some Muddy Water stuff. So that's it.

Just always, just always working, you know. And there was. There was plenty of gigs to be had and, you know, they weren't glamorous or anything like that.

Speaker A

00:09:21.370 - 00:09:21.770

Right.

Speaker B

00:09:22.330 - 00:09:44.420

May have been a little detriment to, you know, me career wise, because I'm thinking, well, I can go.

Instead of me saving up money, going, playing some rock club and playing 40 minutes and doing that, you know, I would just go some bar from 10 to 2, but I'd have money in pocket. You know, I liked it. My favorite thing to do. So I didn't really think about it that way.

Speaker A

00:09:44.660 - 00:09:44.980

Right.

Speaker B

00:09:44.980 - 00:10:10.360

And have any sort of exposure to that. Probably long term. Wasn't a great choice. It's only now I realized what. But. But it really taught me to.

And something I really cherish is also to sort of entertain an audience. You're not just a musician, you know, you, you know, you want people to pay attention to you. You've got to give them.

You can't give them a lot of options.

Speaker A

00:10:10.840 - 00:10:11.200

Right.

Speaker B

00:10:11.200 - 00:10:12.280

Not listen to you.

Speaker A

00:10:12.760 - 00:10:14.360

You do that very well live.

Speaker B

00:10:15.800 - 00:10:40.590

That's my shtick. You know, I try to make sure that there's always something going on. Make it look like you're having a good time. Because usually I...

Summary

James McMurtry, a heavyweight in the music world, takes center stage in this convo, diving deep into the heart of protest music and social change. He kicks things off with a hilarious admission about writing songs just to get ladies' attention (classic move)! As they riff on McMurtry's journey from lonely beer garden gigs to crafting powerful anthems, he shares the backstory of his iconic protest song, "We Can't Make It Here," which struck a chord right before the 2004 elections. The discussion morphs into a thoughtful analysis of how music can serve as a catalyst for dialogue, especially around issues like corporate power versus the people's voice. With a sprinkle of humor and a whole lot of insight, this episode is a delightful blend of McMurtry's personal anecdotes and a savvy commentary on the current state of society, leaving listeners both entertained and contemplative.

Show Notes

Country Fried Rock takes you behind the scenes of James McMurtry’s world, where his music meets life’s raw truths. Here’s the inside scoop on what to expect from this unforgettable conversation:

A Playful Start:

• McMurtry kicks things off with a laugh, admitting his first push into songwriting was driven by a simple desire for attention, specifically from women. It’s a fun, light-hearted beginning that sets a laid-back tone for the whole episode.

The Early Struggles:

• As he looks back on his first performances in beer gardens, McMurtry paints a picture of the grind: learning to play cover songs to get gigs, then slowly sneaking in his original stuff. The way he tells it, you can almost hear the clink of beer bottles and the hum of a tired crowd.

Protest Music & Politics:

• The conversation gets deeper when McMurtry talks about his iconic protest song, “We Can’t Make It Here.” Written during a tense time in U.S. politics, the song became a rallying cry for many, capturing the frustrations of everyday folks. McMurtry explains how protest music can spark important conversations without pushing people away, all while balancing the fine line between political commentary and universal truths.

Writing With Purpose:

• He shares his process of crafting songs that not only raise questions but also make room for connection. It’s all about creating music that invites listeners to reflect—without alienating them. His insights are both witty and wise, proving there's more to his music than meets the ear.

The Future of McMurtry’s Music:

• As the episode winds down, McMurtry hints at a shift toward more personal storytelling in his upcoming work. He's not done evolving, and it’s clear he’s always searching for deeper ways to connect with his audience. Plus, there's talk of collaborations with legends like Joan Baez, making us all eager to hear what's next.

This episode is a fascinating glimpse into the mind of a musician who has used his craft to not just entertain, but to engage and inspire generations.

Chapters

• 00:18 - Interview with James McMurtry
• 02:05 - The Journey of Songwriting and Protest Music
• 05:45 - The Influence of Corporate Power on Government
• 10:41 - The Evolution of Music Production
• 19:16 - The Austin Residency and Its Impact on Local Artists
• 20:47 - Intellectual Property and Music in the Digital Age

Takeaways

• James McMurtry started writing songs primarily to impress women, revealing his youthful motivations behind creativity.
• His early musical inspirations were drawn from obscure artists like David Bromberg and John Hartford, shaping his unique sound.
• The evolution of his songwriting reflects a deeper personal drive, transcending mere commercial success or popularity.
• McMurtry's protest song, "We Can't Make It Here", illustrates the power of music to resonate with social issues, gaining unexpected traction among listeners.
• He emphasizes the importance of the listener's connection to a song, suggesting that a popular tune's success often hinges on its relatability.
• The ongoing dialogue about the intersection of music and social change reveals both challenges and opportunities for artists in today's political climate.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• James McMurtry
• You may also enjoy this conversation from 2015 with M. Lockwood Porter
• Toss a few in our Tip Jar!

Mentioned in this Episode

• Jimmy Buffett
• David Bromberg
• John Hartford
• Joan Baez
• C.C. Adcock
• Bill Clinton
• George Bush
• Stephen King
• Lucinda Williams
• Johnny Burke
• NAFTA

Recommended If You Like

James McMurtry interview, protest songs, social change music, Country Fried Rock podcast, songwriting inspiration, Americana music, Occupy Wall Street music, live music performance, music industry insights, songwriting process, vinyl records, music collaboration, critical acclaim in music, independent artist journey, music for social issues, contemporary folk music, music and politics, acoustic music scene, Texas music, modern protest music

Transcript

Speaker A

00:00:00.800 - 00:00:22.320

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

Country Fried Rock Music Uncovered we're chatting with James McMurtry, a powerful figure in the music scene, including many social change songs and a recent protest song regarding the Occupy Wall street movement as well. And that just touches the tip of what James McMurtry does. Good morning, James. How are you?

Speaker B

00:00:22.400 - 00:00:23.040

I'm good.

Speaker A

00:00:23.120 - 00:00:26.320

Thank you for being with us. How did you start writing songs originally?

Speaker B

00:00:27.540 - 00:00:33.860

Well, I started writing songs so women would talk to me. Basically. I knew I wasn't gonna make the football team, so.

Speaker A

00:00:34.020 - 00:00:34.980

So in high school.

Speaker B

00:00:35.140 - 00:00:37.140

Yeah. What can a poor boy do, you know?

Speaker A

00:00:37.540 - 00:00:40.020

So original stuff started for you pretty early then?

Speaker B

00:00:40.740 - 00:00:59.480

Well, I guess I started. I was about 18, and I never really finished anything that I wanted to play till I was in my mid-20s. But you know, that.

That time I was playing little beer garden gigs for 10 bucks and free beer. You know, you had to play certain number of Jimmy Buffett songs or the food and beverage guy wouldn't hire you, you know.

But then I started working in a few originals with the. With all the COVID tunes.

Speaker A

00:01:00.040 - 00:01:03.240

Where was it that you were wanting to go with your original music at that time?

Speaker B

00:01:03.400 - 00:01:11.640

At that time, I was kind of in the vein of David Bromberg and some of the obscure writers that I knew about. John Hartford, people like that.

Speaker A

00:01:11.880 - 00:01:13.400

What tapped you into that music?

Speaker B

00:01:13.800 - 00:01:58.460

I don't know. I just. Somebody turned me onto it when I was a teenager and I mean, I listen to the Rolling Stones as well, but I listen to that other stuff too.

So the Hartford and Bromberg stuff lended itself to solo acoustic more. I wasn't working with bands much at that time, and I went to school in Tucson at that time. It was really easier find a gig as a solo.

There were a lot of these outdoor beer garden type places and coffee houses, that sort of thing. I mean, there were a few clubs that hired bands, but the bands of the time, that was new wave era, and I wasn't really into that.

I was into Southern rock. Fortunately, there was one pretty cool southern rock band there.

But a lot of times they'd have to go down to Bisbee to play because there were enough old hippies down there that they could find a gig.

Speaker A

00:01:58.780 - 00:02:07.180

As you moved forward then and continued writing. And it evolved for you, though, into something a little different. What kept you driving with the writing?

Speaker B

00:02:07.340 - 00:02:15.500

It was just something I did. I was going to do that whether I was making a living at it or not. But yeah, it was just something I wanted to do it was my drive.

Speaker A

00:02:15.960 - 00:02:29.480

As you move forward in what you were doing, you've had kind of huge peaks of critical acclaim. But then some of the songs that stand out over time have been maybe the quieter.

I don't want to put the term protest song on them, except that some of them maybe are.

Speaker B

00:02:29.800 - 00:03:15.790

Well, yeah, the protests. One of the protest songs got noticed. I wrote that song, We Can't Make It Here. I put that out right before. Right before the 2004 elections.

I wrote it and I put it out of the free download. And it got a lot more attention than anything I'd put on a record in a long, long time. And I think it just got.

It was lucky in that a lot of people identified with it. Just the nature of a popular song. A popular song is more about the listener than the writer.

The listener has to hear his or herself in the narrator song. So I was in the right place at the right time for that. And of course, that song developed a life of its own.

Now I just re recorded that because I heard Joan Baez wanted to sing on it. I went over to Louisiana and C.C. adcock and I put together a new track for it.

Speaker A

00:03:16.030 - 00:03:16.510

Cool.

Speaker B

00:03:16.910 - 00:03:21.710

And I think we're. I think Joan's supposed to put her vocal on it this week. I'm not sure that's exciting.

Speaker A

00:03:21.710 - 00:03:42.500

I didn't know about that. Yeah, not so much.

When a song ends up with a life of its own, that may not have anything to do with where you thought it would go, but in terms of having a feeling for yourself that you want to put into writing, and then it gets picked up like that in popularity. I mean, I don't know. The protest songs are started with the intent of ever being, quote, unquote, popular.

Speaker B

00:03:43.050 - 00:04:11.320

Well, that song was started because I felt powerless because I live in Texas and I tend to vote Democratic, which means my vote kind of goes nowhere. So the only power I had was through song and through a record deal.

I recorded that and first did it as a solo acoustic thing because I couldn't get the band in the studio for another two weeks. So I did that and I went down to KGSR radio because I knew the morning guy, Kevin Connor, let me spin anything. And I put some old style bleeps on it.

Speaker A

00:04:11.320 - 00:04:11.760

Yep.

Speaker B

00:04:11.760 - 00:04:13.800

So we wouldn't get in FCC trouble.

Speaker A

00:04:13.800 - 00:04:14.200

Right.

Speaker B

00:04:14.200 - 00:05:06.000

And went down and spun it at morning drive time. And of course, you know, this was 2004. Bush's numbers were soaring. And everybody took that as an anti Bush song, strictly.

So I put it on the air and I had nasty emails on the website before I even got home because so many people just had their whole identity wrapped up in George Bush. Think about it. For me, the song was not strictly an anti Bush song. I mean, I was no fan of the Bush administration.

But a lot of what the narrator complains about in that song really took wing under Clinton and probably have their roots further back in Reagan, Nixon, you know, failing back. So, you know, the chief problem that the narrator has, outsourcing, you know, and Clinton really fanned the flames on that one.

Bush did nothing to slow it down because his friends were getting just as rich as Clinton's were. And it's still going on and it's an ongoing process. And so the song works just fine under Obama.

Speaker A

00:05:06.400 - 00:05:14.960

When you take on a social issue that goes beyond Republican and Democrat, do you find that it opens up discourse or that it closes people off?

Speaker B

00:05:15.520 - 00:05:40.290

It's starting to open up discourse.

During the Bush years, it closed people off because you basically had two camps that were almost like religious cults and they weren't going to listen to each other. Now, with any luck, we can get some dialogue going because, you know, I don't see the problem in this country as right left, Republican, Democrat.

I see it more as the interests of the people versus the interests of the corporations.

Speaker A

00:05:40.530 - 00:05:43.490

And so is that what drew you into the Occupy Wall street movement?

Speaker B

00:05:43.970 - 00:07:34.520

Definitely. This is not just the U.S. this is a global thing.

What we've seen happening over the last few years is that governments have less and less power and they have less power to protect the people because the power now lies in multinational corporations. Back to Clinton. This is what Clinton should have been in peace for was nafta.

I don't care what his love life is like, what his practices are, but there's, you know, some of NAFTA really undermines our sovereignty and our safety. You know, Obama's just made a big show of blocking the Keystone pipeline. Well, that pipeline is going to go through whether he wants it or not.

Because if it's blocked, the Canadian parent company can sue us under nafta. Billions of dollars in projected loss of profit. You know, so there's no way out of that. And it was NAFTA that did it. You know, it's been done before.

The state of California at one point, they're interested in making their gasoline burn clean. And there was a Canadian company, that parent company that owned a US Company that produced something called mtbe, which makes the gas burn clean.

Problem with it is it's very hard to contain it's. Very carcinogenic. And a pinhole leak in an underground tank can contain contaminate groundwater for miles around.

Well, they came up with some contaminated wells around Lake Tahoe where the water quality is what they have to sell for the most part. The state of California banned mtv. Well, the Canadian company sued the state and won.

So the next time I was out there, suddenly half the gas stations are closed down and the other half have their tanks dug up, have to replace them with better tanks to hold that stuff. You know, that was a case of a corporation having more power than a government, and it shouldn't be that way. The governments are here.

And I don't fear government. I think big government could be useful. You know, it's basically a service organization.

Speaker A

00:07:35.080 - 00:07:44.040

Do you feel, and I don't know if this was the intent or not, but do you feel any kind of bond with the history of songs for social change in our country?

Speaker B

00:07:46.120 - 00:08:08.080

No, I haven't really thought about that. It's just more of a reaction, what is going on.

And it's just very tricky writing any kind of political song because it's very easy for the song to turn into a sermon, which nobody's going to want to listen to. And then more often it turns into a rant, which it can actually be kind of entertaining. But if you're really, really lucky, you get a song.

Speaker A

00:08:08.960 - 00:08:22.150

I think about just having watched the Grammys on Sunday night and Bruce Springsteen opening it up and thinking about the misinterpretation of songs that he has in the past. Do you feel that you're getting any kind of opposite reaction of what the thoughts were behind what you wanted to say?

Speaker B

00:08:22.950 - 00:08:55.340

Sometimes, yeah. I had another song called Chaney's Toy, which is more of a rant, and it starts with the image of the unknown soldier.

I guess I wasn't clear enough because a lot of people seem to think I was saying the soldiers were Cheney's toys. Not at all. I was saying that Bush was Cheney's toy. I felt like that was. That whole administration appeared to really be sort of a puppet show.

Bush as the puppet and Cheney is the puppet master. I may be wrong about that because I don't think Bush was near as obtuse as people took him to be. Like, that was an act.

But I don't know that he really cared about being president either.

Speaker A

00:08:55.500 - 00:09:03.420

Do you feel a need to go back and rework anything from your past? Songs that come from a place at a certain time that may morph over time?

Speaker B

00:09:04.700 - 00:09:27.350

Yeah, I mean, I'll do Different versions of. I do. You know, I record live versions of done in the studio. But I don't feel the need to really go back.

I mean, there's a couple of them that I thought had more potential. It might be nice to re record someday. And it's probably possible because a lot of my songs didn't get noticed by anybody.

Redo it and it sounds brand new.

Speaker A

00:09:28.150 - 00:09:30.550

Are you working towards a next album?

Speaker B

00:09:31.030 - 00:09:42.040

Yeah, we're just starting on it. Got a couple new songs in the live set and about got cece talked into producing, which would be great.

I don't really want to produce myself anymore for a while.

Speaker A

00:09:42.440 - 00:09:45.160

What do you. What do you hope CC brings to the project?

Speaker B

00:09:45.880 - 00:09:58.600

A lot more knowledge of the studio than I have. Just he'll run with any bizarre idea. He's been doing a thing now he calls vinylizing in his mastering process.

He'll get him to actually press a vinyl disc.

Speaker A

00:09:58.840 - 00:09:59.320

Nice.

Speaker B

00:09:59.960 - 00:10:17.810

And then, you know, put that on a really expensive turntable. So there's no....

Summary

From 2012: Annie Rothschild of Paladino spills the beans on her musical journey, diving into how her roots in blues, thanks to her dad's iconic record label (Landslide), shaped her sound and career. From the early days of tinkering with piano and clarinet to her recent romance with the upright bass, she reveals how her eclectic influences, from Bonnie Raitt to the Allman Brothers, spark her creativity. The convo takes a twist as Annie talks about the unique blend of country vibes with a punk edge that defines Paladino’s music, showcasing the band's chemistry and collaborative spirit. They chat about the whirlwind of recording what was supposed to be a demo but turned into their self-titled album, all while keeping things real with a no-nonsense approach to studio time. Tune in for a laid-back yet insightful peek into the life of a musician who's all about staying true to her roots while exploring new sounds.

Chapters

• 00:12 - Introduction to Today's Guest
• 05:15 - The Journey of a Bass Player
• 09:37 - The Evolution of Paladino's Sound
• 14:56 - The Future of Paladino's Sound
• 17:46 - Touring Adventures and Family Life

Show Notes

Diving into the vibrant world of music, Sloane Spencer welcomes Annie Rothschild from Paladino to discuss the roots of her musical journey. Growing up surrounded by the rich sounds of the South, thanks to her father’s record label, Annie's introduction to music was as organic as it gets. She reminisces about her early days, from classical piano lessons to picking up the electric bass a decade ago, and eventually transitioning to the upright bass with Palladino. Their conversation unpacks Annie's influences, ranging from the blues legends like Muddy Waters and Bonnie Raitt to the soulful grooves of New Orleans. As Annie shares her passion for improvisation and the unique tonal qualities of the upright bass, listeners get a glimpse of the deep connection between her musical upbringing and her current artistic expression. The episode captures the essence of creativity, illustrating how Annie's background has shaped her approach to music-making and her journey with Paladino.

Takeaways

• Annie Rothschild's musical journey began with a childhood steeped in blues, thanks to her father's record label, shaping her artistic path.
• The formation of Paladino was a serendipitous event, showcasing how organic connections can lead to creative collaborations in music.
• Annie's transition from electric to upright bass illustrates the evolution of her musical style, embracing the rich tones of roots music.
• The chemistry within Paladino is a delightful mix of personalities and influences, creating a unique sound that blends country with punk rock elements.
• Annie expresses aspirations for their next album to reflect a more cohesive sound, highlighting the importance of production in music creation.
• The band emphasizes the joy of live performance, describing their gigs as a continuously evolving experience fueled by audience energy.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Annie Rothschild of Paladino, later of Nocona
• You may also enjoy this conversation from 2015 with Lee Gallagher
• Toss a few in the Tip Jar!

Mentioned in this Episode

• Paladino
• Landslide Records
• Capricorn
• Widespread Panic
• Derek Trucks
• Guitar Center
• Bonnie Raitt
• Susan Stufsky
• Willie Dixon
• Steve Holland
• Mingus
• Allen Toussaint
• James Booker
• The Meters
• George Porter
• Mud Waters
• Allman Brothers
• Dwayne Allman
• Freddie King
• Van Halen
• Otis Redding
• Aretha Franklin
• T.L. Burnett
• Youth for Christ Choir
• Dorothy Love Coats
• Jim Scott
• The Jayhawks
• Ween

Recommended If You Like

Country Fried Rock, Palladino band, Annie Rothschild interview, creative inspiration in music, blues music influence, upright bass playing, roots country music, modern punk rock sound, live music performance, recording process in music, self-produced albums, female musicians in blues, songwriting collaboration, music scene in Los Angeles, touring with a band, festival performances, influences of classic rock, music role models, unique band chemistry, music collaboration dynamics

Transcript

Speaker A

00:00:00.800 - 00:00:16.520

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered My name is Sloan Spencer, and you're listening to Country Fried Rock.

My guest today is Annie Rothschild of Palladino. Welcome, Annie.

Speaker B

00:00:16.520 - 00:00:17.760

Thanks. Thanks for having me.

Speaker A

00:00:17.840 - 00:00:21.200

So glad to have you with us. How did you originally start playing music?

Speaker B

00:00:21.520 - 00:00:40.320

Well, I've been around music my whole life. My father owns a little record label based out of the south, and so then he's been feeding me blues my whole life, so I feel very lucky with that.

And. And I just started playing bass, I guess, about 10 years ago, just electric bass.

But I actually just started the upright about a year ago when Palladino formed.

Speaker A

00:00:40.560 - 00:00:42.840

So you didn't grow up playing an instrument, actually?

Speaker B

00:00:42.840 - 00:00:53.040

Well, that's not true.

I played piano and clarinet and off and on for years, but just picked up the bass about 10 years ago, and then now I barely play the electric anymore at all. It's only upright.

Speaker A

00:00:53.360 - 00:00:56.880

So early piano and clarinet lessons didn't ruin your interest in music?

Speaker B

00:00:57.930 - 00:01:16.090

No, actually, I loved piano. I was kind of like, I learned classically trained and I always wanted to know how to improvise.

Like, I grew up in Atlanta and I always wanted to learn how to play like, you know, Allman Brothers and Skinner. And then eventually I just kind of like fell out of it a little bit and then got. Got into the bass a few years after that.

Speaker A

00:01:16.330 - 00:01:24.490

You grew up with a classical training in instruments, but I totally get the wanting to play your own thing. What led to you starting to actually play music that you wanted to play?

Speaker B

00:01:24.900 - 00:01:45.940

So funny. Just one day I just, like, needed to play the bass. I don't know why or how. I think tar, like, never appealed to me.

I think six strings versus four just seemed like a little difficult.

So, yeah, I just cruised down to Guitar center and bought a bass and amp and started fooling around, you know, trying to play old blues tunes and kind of had this urge to do it, I guess.

Speaker A

00:01:46.100 - 00:01:51.510

Did you have any, like, female role models in terms of bass playing or guitar playing or. Or was that even an issue?

Speaker B

00:01:51.750 - 00:02:33.780

Gosh, actually. Well, Bonnie Raitt, just. She's my idol and, you know, guitar player, but just being grounded in the blues and all. She's done for blues.

I've always looked up to her. And also Susan Stufsky, definitely a role model. She's such a great singer and performer, and she's awesome.

But, yeah, those are the only females I've ever really looked up to. There's some upright players I was definitely inspired by, like, Willie Dixon, who I've named my bass after James Singleton.

I love all New Orleans music is really, really great. And recently I've been getting into a lot more like jazz, upright jazz players like Steve Holland and Mingus. So the upright tone is so special.

It's so powerful to try to be a part of it and, you know, have it flow through you, I guess.

Speaker A

00:02:33.780 - 00:02:41.620

Is the point when you talk about old blues and you. That you grew up listening to and stuff with your dad and then what you also personally like, what kind of stuff?

Speaker B

00:02:42.020 - 00:03:05.920

Well, like old New Orleans music. Alan Toussaint and James Booker. And that scene has always been really powerful to me. Like, I've. I've listened so extensively to all of music.

Really, really inspiring. And, you know, the Meters. George Porter is one of my favorite bass players as well. But I don't know why.

I've always had an affinity for just like old, like, roots music in general. Why? Like, I don't know. That's why I love Paladino, actually. Although it's kind of a different. We're more of a country.

Speaker A

00:03:06.400 - 00:03:09.600

What were you listening to? The roots music that was inspiring beyond.

Speaker B

00:03:09.600 - 00:03:42.290

The old blues, Muddy Waters is probably my favorite performer of all time. But I grew up listening to a lot of the Allman Brothers. Dwayne Allman, fantastic. And Freddie King has been a huge inspiration as well.

I remember my dad gave me my first tape that he made for me. It was Van Halen's Jump.

I was like 4 years old and then came like all Otis Redding and Aretha Franklin and all that Atlantic record stuff is really, really cool and really powerful to me. My dad owns a record label called Landslide Records.

He's closely related with Capricorn, Widespread Panic's first album, and Derek Trucks first album.

Speaker A

00:03:42.530 - 00:03:50.520

I am a proud owner of one of the original album releases of Widespread Panic. Before it got picked. Yeah, before it was picked up and then redone.

Speaker B

00:03:50.520 - 00:03:55.840

So he sold the rights to Capricorn in 1988 for that record. That's so neat that you know the label.

Speaker A

00:03:55.840 - 00:03:59.160

Oh, yeah, that's crazy. Well, that's really cool.

Speaker B

00:03:59.400 - 00:04:14.000

So lucky to have that. Like, just to have a taste for music.

Like, I don't know, to have somebody who's like, so inspired and inspiring to just constantly be feeding me music still to this day. Like, I was just getting into this gospel record recently. T.L. burnett and the Youth for Christ Choir.

Speaker A

00:04:14.000 - 00:04:14.600

Oh, wow.

Speaker B

00:04:14.600 - 00:04:36.920

72 Chicago. This incredible gospel record that's like super soul oriented. I'm like, dad, have you listened to this and he's like, no, he's like, but have you.

Have you hear Dorothy Love Coats and all? It's all in the universe of music that you don't know exists. And you think you know, right? Yeah, I'm really getting into gospel these days, actually.

Like, I don't know how or why, but yeah, I like kind of soul.

Speaker A

00:04:37.160 - 00:04:43.400

I'm a little surprised at all the jazz and blues because I would not have said that right away from listening to Paladino.

Speaker B

00:04:43.890 - 00:05:11.170

I know, it's funny. We are a cool combination. I mean, I'm a huge music snob. I wouldn't, like, be in this band if I didn't think that tunes were really powerful.

It's definitely like a roots country, but with like a real modern punk rock edge to. It comes from Johnny, our lead singer, and then Chris, our lead guitar player. Johnny grew up in Southern California, and Eric, Chris from New York.

They've got, like a huge punk rock thing going on. So it's kind of like a neat combination of modern, cool, modern sound, but really, like, authentic.

Speaker A

00:05:11.550 - 00:05:19.390

You were talking a little bit about picking up the electric bass about 10 years ago. @ what point did that become more than just something you were doing on your own?

Speaker B

00:05:19.790 - 00:06:25.050

You know, it's funny, I lived in San Francisco for a while and I moved to la and just randomly I was talking to a girlfriend about how I was playing bass. And that would be cool to sort of look looking for a band. But I just kind of started over in la.

And then one of her best friends had just mentioned to her that they were looking for a bass player. It was just totally kind of meant to be. And then I went over and rehearsed with them. And magic happened, I thought.

And then we were rehearsing the next week at Johnny's house. Johnny and I were. And he had this upright just laying around that he never really played.

And it's a big beater and, like, I couldn't take my hands off it. And like, here you go, you can take it. And now I really need to give it back. But, yeah, it all happened really organically. It was meant to be.

It just kind of. We all fell into it together. Johnny and Adrian, our other guitar player, have known each other for 20 years.

And Johnny is actually like, he's a brilliant songwriter, but he's also a brilliant artist. He's kind of a shut in. And this is his first band. Adrian was like, okay, this is all coming together. It's time to start a band.

Like, it's Time to do this. It has been really a cool ride. Hey, this is Annie Rothschild with Palladino, and you're listening to Country Fried Rock as.

Speaker A

00:06:25.050 - 00:06:29.890

Y' all just sort of fell into this as the band. What led to developing songs together?

Speaker B

00:06:30.290 - 00:07:33.200

Well, Johnny had a lot of songs that he were like, we were partially done, or he had ideas about. And then he and Chris started collab a lot. Chris is a brilliant musician who has been. Who's toured the world with a number of bands.

Brings in a real sensibility and, like, a real strong direction the songs, you know, gives it a more of a modern edge to it, for sure. He's also a fantastic performer and one of the greatest guitar players I've ever known. I mean, killer slide player.

So I think that they kind of just started developing all the songs together, and then we all just started rehearsing. We rehearsed twice a week for six months before we even played a gig. And now it's just. It's. You know, you can feel it in our rehearsal space.

Like, everyone's kind of come into their own position in the band, which is totally fascinating because this band is full of characters, and just the chemistry that happens between everybody is fascinating, really. You know, everyone has a specific place in it. Like Johnny.

Johnny will come in with a song, and Chris will kind of help arrange it, and they'll be agreeing or disagreeing. And Adrian is just like. She's like, the one that just doesn't take any. Okay, let's stay on track here. Yeah, it's really fun to watch.

Speaker A

00:07:33.360 - 00:07:39.200

As you refined what you were doing with frequent rehearsal, how did it go as you first started performing out?

Speaker B

00:07:39.280 - 00:08:31.710

Actually, our first gig was at Silver Lake Lounge eight months ago. Or, yeah, I guess about six to eight months ago. It was, you know, it was cool. It was a perfect club. It was a good sound system.

Young guy was really on top of it. And I feel like we're just getting better and better. As long as we don't drink too much before the show, which we're, you know, we're not doing.

You know, our gigs are definitely becoming smoother and more refined. We're getting down. We've been experimenting with different set lists, trying not to change too much about the song.

Like, sometimes one of us will be like, wait, we should be doing this slower, or we should speed this up, or we should change this intro or whatever. And then usually it's like checks and balances. Like, someone will be like, no, dude, it's good the way we did it.

Let's not, you know, rearrange everything. So. And it's good. We have an odd number of people in the band. We can agree, like, okay, three versus we have. The voice of reason is our drummer, John.

He's the one. He's been playing drums his entire life and he's an incredible drummer. He's always the one that kind of like is like the tiebreaker when you're.

Speaker A

00:08:31.710 - 00:08:38.410

Dealing with bluegrass or old time bands. The bass line is what drives the rhythm. But you've got a drummer, so how does that work for your interplay?

Speaker B

00:08:38.570 - 00:08:53.770

When we first started playing together, I totally glommed onto Johnny's upright immediately. And then we're starting to play and then I was just really learning how to play it and it's a totally different.

And the guys, you know, were like, maybe you should play electric a little bit. And I was like, no, actually I'm going to just play.

Speaker A

00:08:53.850 - 00:08:54.570

I'm going to.

Speaker B

00:08:54.650 - 00:09:28.510

You're going to have to bear with me. You know, I took some lessons and started. I picked it up really quickly. Still picking it up, obviously, but really, really just took to it.

John is a very technical drummer. He and I normally come up with the rhythm together. It's kind of like I'll throw something out like, hey, what about this bass line?

Or what about that one? And he'll say yes or no, or, you know, why don't I do this kind of fill? And like, we definitely try to play off each other.

Whatever is best for the song. Whatever is best for the moment. Nobody is trying to be a hero or trying to stand out at all. Whatever is happening at that.

Just trying to do right by the song.

Speaker A

00:09:29.080 - 00:09:37.560

It's all happened kind of quickly for you in terms of falling in together, rehearsing, having the gigs. What led to recording the songs?

Speaker B

00:09:37.960 - 00:11:26.700

Yeah, it has happened. It's so funny. It really has happened so quickly, almost shockingly, you know, fast.

I think that a lot of that has had to do with Adrienne who's, you know, acting as our manager. And she's. She's just the most beautiful and brilliant gal.

I mean, she's so on board and so on top of it with reaching...

Summary

From 2012. At the end of this episode, well, she did exactly that.

Margo Price of Buffalo Clover dives deep into her musical journey, sharing how her roots in family music and her self-taught guitar skills shaped her unique sound. With a blend of candid reflection and playful anecdotes, she reminisces about her early days, from awkward piano lessons to the exhilarating thrill of writing her own songs. The conversation takes a heartfelt turn as she reveals the therapeutic power of songwriting, especially during challenging times, including the loss of one of her twins. Margo's infectious energy shines through as she discusses the evolution of Buffalo Clover's music, exploring the delicate balance between rock and country, while also hinting at her new solo project. As they chat, it's clear that Margo's passion for music is as vibrant as ever, and she’s excited about the future, hoping to captivate audiences and make a full-time living doing what she loves.

Show Notes

On this episode of Country Fried Rock, Sloane Spencer sat down with the ever-charming Margo Price, lead singer of Buffalo Clover. Here's what went down:

• Kicking things off: Margo brought her signature wit and down-to-earth vibe as she chatted about her early days, starting out on piano, teaching herself guitar, and growing up in a musically rich family that clearly shaped her path.

Musical tastes? All over the map:

• Think Beach Boys' chill harmonies one minute…
• …and Eminem’s gritty edge the next.
• Margo’s playlist growing up was wildly eclectic, and you can hear it in her music today.

A walk through her songwriting journey:

• Her first songs? Not your typical teenage love ballads, more like deep dives into social issues that left early listeners both intrigued and a little confused.
• Over time, she and Buffalo Clover found their groove, blending folk, rock, and country while staying true to their roots.

Behind the scenes with the band:

• Working with her husband Jeremy Ivey added a whole other layer to the creative process.
• Co-writing with your spouse? Equal parts magic and madness—but it works for them.

The real talk:

• Margo opened up about the tougher stuff: motherhood, personal loss, and the ups and downs of the music biz.
• Their latest album, Low Down Time, became more than just a record: it was a lifeline, a way to process grief and find healing through music.

What listeners walked away with:

• A deeper look at Margo not just as a musician, but as a human being navigating real life with grace, grit, and a healthy dose of humor.
• A reminder that the best songs often come from the most personal places.

Chapters

• 00:09 - Introducing Margo Price
• 03:06 - The Evolution of Musical Influence
• 08:10 - The Evolution of Buffalo Clover
• 11:12 - Navigating Change: The Journey of Creativity and Loss
• 15:18 - Exploring Musical Identity
• 20:51 - Navigating the Music Scene

Takeaways

• Margo Price shares how her musical journey began with piano lessons, inspired by family musicians.
• The transition from piano to guitar was fueled by a desire to create original songs, showcasing her creative independence.
• Buffalo Clover's evolution reflects a blend of genres, mixing rock and country, creating a unique soundscape for listeners.
• Margo discusses the therapeutic nature of songwriting, especially after experiencing personal tragedies, highlighting music's healing power.
• The band's dynamic shifted towards collaboration, fostering a competitive yet supportive environment for songwriting among members.
• Margo's thoughts on the struggles of navigating the music industry, emphasizing the importance of marketing and audience connection.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Margo Price
• Buffalo Clover is still on Bandcamp
• You may also enjoy this conversation from 2015 with Cale Tyson
• Toss a few in our Tip Jar!

Mentioned in this Episode

• Buffalo Clover
• Palaver Records
• The Beach Boys
• Alanis Morissette
• Fiona Apple
• Stanley Brothers
• Joan Baez
• Joni Mitchell
• Bob Dylan
• Reba McEntire
• Blackhawk
• The Kinks
• Wanda Jackson
• Sam Doores and the Tumbleweeds
• Steve Soto and the Twisted Hearts
• The Full Tones

Recommended If You Like

Country Fried Rock, Margo Price, Buffalo Clover, country music podcast, songwriting inspiration, Nashville music scene, creativity in music, folk music influences, Americana sound, music industry challenges, acoustic guitar, recording music, live performances, music collaboration, songwriting process, music therapy, Buffalo Clover albums, music production, indie music scene, music career development

Transcript

Speaker A

00:00:00.800 - 00:00:13.600

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 Margo Price of Buffalo Clover.

Speaker B

00:00:14.000 - 00:00:15.360

Hi, Sloan. It's Margo.

Speaker C

00:00:15.600 - 00:00:18.000

Thank you so much for being with us on Country Fried Rock.

Speaker B

00:00:18.080 - 00:00:18.720

Thank you.

Speaker C

00:00:19.200 - 00:00:21.360

How did you learn to play music originally?

Speaker B

00:00:21.760 - 00:01:30.810

Well, I started taking piano when I was pretty young. My parents don't really play or anything, but my grandparents and great grandparents, they all played.

And so my parents got me piano and started getting me taking lessons and everything. And I wanted to learn my own songs, you know, I wanted to learn songs that my piano teacher wasn't teaching me.

So after about seven years, my mom was just like, I don't know, you don't really seem like you want to do it anymore. And so then I ended up getting a guitar and kind of teaching myself how to play.

But I always did, you know, like chorus and all that kind of stuff, like show choir and stuff like that. But it really was kind of a therapeutic thing for me, I think, from the get go.

I kind of started like writing my own songs when I was really young, even before I knew how to like put music to them. And I had like all these horrible little tapes and me singing acapella and I used to do a lot of like dance and theater and stuff like that.

Then I just really decided that I didn't want to do that so much anymore and I just wanted to play. So kind of gave up all my other 20,000 hobbies, all the sports and cheerleading and all that, and decided I was gonna play guitar.

And now in the project I'm playing in now, I really just sing mostly. I mean, I write a lot of the songs on guitar, on piano, but then I end up just kind of singing. I still play on some of the.

Speaker C

00:01:31.120 - 00:01:37.760

When you first jumped over to guitar and you were writing your own stuff, what were you listening to that was influencing where those early things were coming from?

Speaker B

00:01:38.160 - 00:02:30.190

Hard to say. A lot of it is embarrassing because I think that, you know, the 80s were just such a bad time for music in like early 90s and stuff like that.

But I remember one of the first songs that I remember hearing when I was like maybe 10 or 11 was that Stanley Brothers song Counting Flowers on the Wall. And I don't know why I thought that song was so cool.

And my mom hated it because it was, you know, said like smoking cigarettes and all that, but that was like the coolest song. But, you know, I listened to a lot of bad stuff too. I mean, I was of course like, Alanis Morissette was awesome and Fiona Apple and.

Not that anything wrong with them, but I just don't. I just don't really relate to it much anymore.

Yeah, I was big into Fiona Apple and I mean, I always, you know, my parents listened to a lot of like 60s, 70s type of music and so I always had that kind of in the background. But I. I didn't really think it was cool until, you know, I was about 20 or something.

Speaker C

00:02:30.590 - 00:02:33.390

What was it that you could handle listening to that your parents were playing?

Speaker B

00:02:34.030 - 00:03:05.900

My dad always had the Beach Boys on and I really liked that. But then after a while I got really tired of it and I'd always be like, can you put something else on? You know, And I mean I.

Even when I was like 13, 14, I like into rap and you know, all the, all the stuff that teenagers get into. So I really like, you know, I'd be like, I want to listen to Eminem and all this stuff. And my mom was like, what are you doing?

This is horrible music. We always kind of could agree on something.

I think it's just that, like those early teenage years that were hard to understand where I was coming from or where they were coming from.

Speaker C

00:03:06.540 - 00:03:10.620

As you were writing these early guitar songs yourself, where did that lead for you?

Speaker B

00:03:11.100 - 00:04:54.020

I really just got into folk music and I wanted to be like Joan Baez or Tony Mitchell or, you know, and then Bob Dylan. Like when I found Bob Dylan, it was like right about when I moved to Nashville. And I'd always heard of him and I'd heard his, like, his main hits.

But somebody gave me like the essential Bob Dylan. And I didn't have a job yet down here. I was like staying alone. I'd wrecked my car. I had no way to get anywhere. Like I was just.

I was living in Antioch. It wasn't even Nashville, 20 minutes outside of Nashville. So I really got into like the folk movement of the 60s and stuff.

And I met Jeremy, my husband, and he knew like every Bob Dylan song under the sun. So he would just sit around and pick like old folk songs.

I think like that's what I started off really like focusing on was like country and that whole side of things, the softer, more like lyrical side of things. And I started recording on a rolling eight track digital recorder and making all these demos.

And then after a while I was always hanging out with all these guys who were playing rock and roll and I guess it started to wear off on me. And I always felt left out. Because they were always jamming, and I just had an acoustic guitar. So they started playing drums with a couple.

I started playing. Jeremy was playing with this guy named Jake Shore, who, immensely talented and just kind of has never, you know, just never got out there.

And I played drums with them for a little while, and then I just got to playing, like, with a band behind me, and I realized how much more powerful it was. I just don't think many people have the attention span to sit and listen to folk music really anymore.

I mean, there are venues that, you know, like, that do that. But I just realized that if I had a band behind me, people had to shut up and listen. So that kind of. It was like. It was an eye opener for sure.

Speaker C

00:04:54.420 - 00:05:01.540

So you're kind of late to the game then, or late to the appreciation of country music. What sort of country was impacting you at that point?

Speaker B

00:05:01.860 - 00:05:51.510

I remember somebody taught me how to play Long Black Sail. My uncle, My great uncle. He had moved to Nashville and he wrote, like, a bunch of songs in, like, the. I guess through the 70s.

So he had written a bunch of songs for, like, I don't know, Reba McIntyre and Blackhawk and, you know, kind of, like mainstream country artists stuff. But he had known the person who, like, wrote that song and that kind of hit home with me. And I went back and dove into all the.

All the older country stuff. I always feel just this great pull of, do I want to play rock and roll or do I want to play country music?

It's so hard to narrow it down because we just get bored really easily. I don't know.

We try to stay open to doing a lot of that, but I feel like it's been sort of destructive in a way, because we'll have a song that's like country song and somebody likes that, and then our next song is psychedelic rock and roll, and it can scare people.

Speaker C

00:05:52.630 - 00:06:02.350

So then you wandered through some different things, from playing folk to picking up the drums to play for another band. So what led to the core of Buffalo Clover forming?

Speaker B

00:06:02.350 - 00:08:09.960

Originally, oddly enough, Jeremy and I started a band that was called Secret Handshake. And we looked it up online, and I didn't see anybody with that name. And so we started playing with that and.

And at that point, we'd gotten into the Kinks. That was like our bread and butter. We just learned, like, every Kink song. I just. I loved that they. Many of their songs had, like, political messages.

And so we were writing all these. I mean, every song. We decided that we didn't Want to write any song about love or anything that anybody was doing we wanted to write.

We wrote a song that was called Bloodshed, another one called Architects of War. I mean it was songs that were like Dead End street and stuff like that. We cleared rooms for sure with our views.

And after a while we just realized that it was just not easily digestible to people. I mean, some people would find us and they would love it. I mean they thought it was amazing, but it was like most of the time it just scared people.

So we ended up changing our name of that band because there was another band that was called the Secret Handshake and they were. They'd been around longer. So we decided to change our name and kind of refocus what we were doing.

And Jeremy and I had been real on again, off again and just in our relationship. And so I of course started writing songs about him and writing songs about love again and all that.

So then we just kind of reformed and looked at what we were doing and kind of adjusted some things. And so then him and I started playing together. And Jason, who's still with us, he plays bass with us.

Jason White joined and then we've been through a whole slew of drummers finally. Then we met Matt Gardner and things kind of started to click into place a little bit more. And so since then it's been.

I mean it's definitely been the three of us. Jason's been kind of on and off a little bit because he went to nursing school and he finished up with that. But now he's kind of.

He's wanting to tour even more than we possibly can now. So he's got a good basis going. And my friend Dylan's been playing with us for a while and he. I feel like he has really.

Now that we have a drummer, it's just kind of like really shaped everything. Drummers are so important, so hard to come by in town. There's just. They just are always in like a million projects.

We're just lucky that he's kind of committing himself to us.

Speaker C

00:08:10.440 - 00:08:17.240

So talk about the first releases that came from Buffalo Clover. What led to you all recording those songs?

Speaker B

00:08:17.640 - 00:09:57.050

The first release was Pearls to Swine and I think I wrote about 10 of the songs and then Jeremy and I co wrote two.

So that was kind of just our first project and we recorded it at the bomb shelter here and everything was done analog on tape and everything even back then. And so we kind of recorded those songs. But then, you know, we didn't have anyone to help us with booking or. We didn't have a publisher.

Like, we didn't. I didn't even, like, copyright the songs. I just was like, well, if somebody wants to feel them, that's fine, because I'll just write more.

I just didn't want to deal with the paperwork, you know, it just. All of it overwhelmed me, and I just didn't really know how to go about anything.

I have, you know, I had my uncle who's in the music business, but I just, you know, I wasn't going to bother him by asking him how to do anything. So we just kind of wrote him and then we went out.

I mean, I booked for myself under a fake name for a while and just, you know, the songs just kind of sat there. And then we have slowly been taking it more seriously. I mean, I've always wanted, you know, wanted to do it. It's just.

It's just so hard to get the right things in the right hands of the right people. So after that, then we recorded Strong Medicine, and that was with Matt Gardner. He was with us on that.

And then from that, then we met the guys from Palover Records who've just been kind of helping us out doing what they can. They're, you know, they're really sweet guys, and they just are helping us out of the kindness of their own heart and their pockets.

It's good to have, you know, just to have people keeping me on my toes with like. Like, okay, you need to send in your songs and you need to make sure that they're copyrighted and, you know, things that I.

That I do not want to do, they forced me to do them. Hey, this is Margot Price from Buffalo Clover, and you're listening to Country Fried Rocks.

Speaker C

00:09:57.130 - 00:09:58.970

The creative versus the business end.

Speaker B

00:09:58.970 - 00:10:10.970

Yeah, exactly. And that's what I feel like that's what we've been lacking for just for so long is I just don't have the patience to do it.

I mean, I get, you know, I get online and I do some stuff, but it's like pulling teeth to get me to fill out anything.

Speaker C

00:10:11.130 - 00:10:19.530

I've heard a little bit of Pearls to Swan, and then I've heard all of Strong Medicine. So what led to the changes that led to this third record, Low Down Time?

Speaker B

00:10:20.080 - 00:10:59.700

Well, we had taken a break because we had kids, and so I had. Basically, it was like....

Summary

From 2012: Sloane Spencer and Laurence Scott of The Famous dive deep into the vibrant intersection of classic country and punk rock in this episode of Country Fried Rock, laying down the unique sound that defines their music. They explore how their roots in the Dallas music scene have influenced their creative journey, blending genres like a master chef whipping up a signature dish. With a laid-back vibe, they reminisce about their formative years, sneaking into clubs and soaking in the raw energy of live performances, which they now channel into their own shows. The duo also dishes out insights on songwriting, emphasizing that their lyrics often go beyond the surface, tapping into deeper themes of connection and introspection. It’s a delightful chat that celebrates the beauty of music as a communal experience, where even fans can scribble their stories in the “book of the famous” at their gigs.

Chapters

• 00:00 - Introduction to Country Fried Rock
• 03:27 - The Evolution of Sound: From Dallas to the Stage
• 06:05 - Exploring the Essence of Our Music
• 09:21 - The Impact of Music Across Borders
• 14:22 - Exploring Musical Collaborations and Influences
• 18:16 - The Evolution of Craft Brewing

Show Notes

Sloane Spencer dives deep into a laid-back chat with Lawrence, exploring the vibrant tapestry of musical influences that shape their sound. With a nod to nostalgia, they reminisce about the days of classic country mixed with punk rock, a genre fusion that feels like a party where everyone’s invited. Lawrence shares tales from the road, recalling the eclectic radio stations of Texas that served as a backdrop for his musical upbringing. He paints a picture of the Dallas music scene, where punk rock and alt-country intertwined, giving birth to a sound that’s both familiar and fresh. The duo banters about their own influences, from the Pixies to Johnny Cash, and how each note they play is a tribute to the rich musical heritage they stand on. Through laughter and anecdotes, they unearth the gritty essence of their music, which channels raw emotion rather than just storytelling, making it resonate with listeners on a deeper level.

Takeaways

• Sloane and Lawrence vibe hard on how music blends classic country with punk rock, creating a unique sound that’s not just nostalgic but also fresh and lively.
• The good folks at Country Fried Rock dive deep into the influences of radio stations, especially in Dallas, which shaped the eclectic tastes of musicians in the area and beyond.
• They chat about the storytelling in their music, revealing that beneath the surface of catchy tunes, there are profound themes reflecting raw emotions and societal observations.
• The band’s approach to live performances is all about authenticity; they emphasize that their shows are genuine expressions of their musical journey, not just a staged act.
• Sloane shares the importance of community engagement through their music, highlighting how they connect with fans by getting them involved in the creative process, like signing their 'book of the famous'.
• The conversation takes a tasty turn as they discuss their love for craft beer and how it plays a significant role in their music scene and shows, blending food, drink, and music into a fun experience.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• The Famous are still around
• You may also enjoy this conversation from 2015 with Rob Keller of 6 String Drag (and Welfare Liners, Workhorses of the Entertainment and Recreation Industry, Roberto Adega)
• Toss a few in our Tip Jar!

Mentioned in this Episode

• Doc Martens
• George Gamark
• The Edge
• Pixies
• X
• Reverend Horton Heat
• Social Distortion
• Modest Mouse
• Old 97s
• Toadies
• Diesel Boy
• FAT Records
• HDNet
• Russian River Brewing Company
• 21st Amendment
• Elizabeth Brewery
• Gordon Biersch
• Anderson Valley
• Pliny the Elder
• Slim Cessna's Auto Club
• Drag the River
• Reverend Peyton's Big Damn Band
• Calexico
• Neko Case
• Tom Waits
• Oz Fritz
• Aaron Prelwitz
• Stuart Sykes
• Jack White
• Loretta Lynn
• Bakersfield country music

Recommended If You Like

country fried rock, Americana music, punk rock, classic country, music interviews, creative inspiration, 90s alternative rock, Texas music scene, live music performances, songwriting process, DIY music industry, underground music culture, beer and music, storytelling in music, Southern Gothic themes, music collaboration, craft beer and music, musical influences, alternative country, band dynamics

Transcript

Speaker A

00:00:00.800 - 00:00:12.320

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey, Lawrence, thanks so much for being with us on Country Fried Rock.

Speaker B

00:00:12.320 - 00:00:34.650

Sloane, thank you very much.

I feel that this is almost a set of kindred spirits making acquaintances here, because when you talk about what the famous is, a shot of classic country with a post punk chaser, I mean, the idea really is music and. And, well, I'd say liquor, but there's also a lot of beer involved and especially food. I mean, that's very much what we're about.

Speaker A

00:00:34.970 - 00:00:38.170

Awesome. So I don't have to hide the fact that I owned Doc Martens at one point in my life.

Speaker B

00:00:38.330 - 00:01:31.180

No, I had green ones and blue ones. We went outside of the box on that. That's exactly where we are with our sound, by the way, that 90s era sound, you know, what it came out of.

And it's cool when you talk to radio people because they get this. There's a couple of stations in the South.

I'm from Dallas, and they had a station where it was a punk rock guy that started this station, or it was one of the main DJs, George Gamark, in Dallas, the Edge. And they were playing music that you just simply wouldn't have in Oklahoma City, for instance.

Funny, because I'm not calling Oklahoma City a wasteland. But Tulsa had a cool alternative rock radio station. Dallas had one. Houston didn't, for instance. Not that I knew of.

But the kind of music that you start hearing, I'm talking the Pixies and X, you know, you know, which so much new wave. But like, you. You kind of got an influence for this that you simply wouldn't have had if it was just playing, you know, Def Leppard over and over.

Speaker A

00:01:31.180 - 00:01:38.660

And speaking of total craziness there, you know, X. Exene Czervenka, their lead singer, has a couple of fantastic Americana alt country records out.

Speaker B

00:01:38.660 - 00:03:25.360

Yeah, she sings on an alt country album with the old 97s from the early 90s, right? Yes. We're fans. We see them every time they come. We tout this like this is. We say, you know, well, what does this sound like? What's your band?

It's like a marriage between classic country and punk rock. It's as Buck Owens, Johnny Cash as it is X.

And the Pixies, people tell us they hear, like, Reverend Horton Heat or Social Distortion or Modest Mouse influences in the song. They're right. Ness keeps making it happen.

I mean, this album just now, I mean, like, it's definitely Definitely what we're about, especially here in California. Sure. For us that's definitely the sound. Another Dallas. I used to see shows in what they call the deep Ellum district in Dallas.

And it was really kind of an honor because one of the bands that I just always really was super into and I was just, you know, I was actually sneaking into clubs. The Toadies. They got out on the radio with this song that was a very big hit. But their band is so much bigger than that.

Actually we just played with them here in San Francisco and that was extremely cool. I think I would say I was influenced at the time. I was like 14, 15 years old, pretending like I was what, 21.

I had big horner black glasses, so tried my best to keep my voice as low as possible. Side deals here and there, but got into these clubs and I would see these shows. Especially this guy Todd Lewis of the Toady's. He was so charismatic.

I was. Now that is something to do.

And Dallas had a great freakout rock music scene that was a bit southern music, but mostly kind of like taking where ZZ Top had gone and turning it on its ear and bringing out, you know, a lot of energy and craziness. I mean that's kind of what our show is about. It's like this frenzy, this fervor.

But for me it really did start like watching the Reverend Horton Heat the Toadies and seeing this up close and personal in small clubs in Dallas.

Speaker A

00:03:25.990 - 00:03:27.750

So when did you learn to play an instrument?

Speaker B

00:03:27.910 - 00:04:14.680

I'm still learning. I am not the total musician of the band. I self taught myself on guitar. But our band's players have been lifelong musicians. Vic is our lead guitarist.

Vic Barclay. He can play anything. I mean any instrument. You hand him anything, he can figure it out in five minutes. He's amazing.

Our bassist GD another guy from Houston, Texas, played in a band, Diesel Boy, a punk band for years and toured. Very successful band, affiliated with FAT Records. And he went to music school. He's solid, you know, solid, solid, solid. Our drummer is our backbone.

I mean he's amazing drummer that, you know, played all his life. Me, I'm kind of the storyteller, the showman, the carnival barker. I can play an acoustic guitar and I'm not bad.

But that's not the focal point of the show.

Speaker A

00:04:14.920 - 00:04:17.400

When you first decided to pick it up, then what were you doing?

Speaker B

00:04:17.640 - 00:05:06.250

I would say this and I tell anybody like who wants to get into starting to play the guitar. You get a cheap electric guitar so you can push down the strings. You Know, junk store electric guitar.

Just so I could just keep practicing and getting the hand placement and stuff down at first, but. And I wasn't hiding it. I was just hanging out.

I. I never really thought of learning to play the instrument as, like, what my role would be in a music project, which is ridiculous in some ways, because it did for years in another band. I was in kind of hold things back. What do they say? It's that guy. You do something for 10 years and you can finally do it. That book.

It's not the Tipping Point, or there's one of those. The guy. The guy with the crazy hair. That was kind of the deal with me playing. I'm not the musician in the band.

I mean, I'm in the band, but I'm not the musician. These other guys really are the musical foundation for the band. So that question. I wish I could port them in to answer that.

Speaker A

00:05:06.250 - 00:05:09.090

But somehow you end up writing for the band.

Speaker B

00:05:09.330 - 00:06:04.890

Yeah. Victor and I are the primary songwriters. You know, he can come up with a kernel of an idea for the music. And I will expand on that.

I am the lyricist of the band and come at a lot of things with ideas for what a course would be or where we're trying to go with sort of the imagery of the song. I mean, it's important to me to express thoughts beyond just, like, kind of the obvious. In our song.

Some of our songs, people think that they're like breakup songs. And really, in some regards, yeah, sure, they could be. But it's kind of also an acknowledgement that we have limited resources.

And if we're to be saved from ourselves in this closing window that we have that we're kind of looking at into this future here, we might get passed over. So what could be done? Acting on it, Just using impulses to do something that's kind of imperative right now.

And like, I don't say the music's a call to action, but it's not always what it exactly seems to be.

Speaker A

00:06:05.290 - 00:06:08.330

What sort of themes, then, are pushing you with those calls to action?

Speaker B

00:06:08.490 - 00:08:07.310

I mean, it starts at the roots of what the music is about. I mean, it is in the tradition of, like, Bakersfield country music. There's something that's a snarl in this music.

It's like a reclamation, having some quiet confidence, knowing that your own intuition is what serves you best. Not letting yourself be fooled by false prophecies. Taking your most inner, most guttural feelings and expanding on that.

This music is more about raw emotion than it is trying to say something specific in A story. And that's a little bit different in Americana, but in rock, that's obviously something that really does fit. It's all tied together.

I mean, the title track of our album, Come Home to Me, fairly self explanatory. I mean, the lyrics directly tell the story. Nothing is hidden.

We have a video that tells a deeper story of the evolution of being born and then working and then dying. You know, in some cases, this is a little bit too dark. I mean, traditional channels were kind of like. I don't. I like.

There's been some people like HDNet who really have glommed onto the video and other video channels who've played it. But that. That. That's a story that. I mean, it's a classic country story.

Going down to the river, but he finds the woman in the river and she's not with somebody else, she's laying down in the river and the story unfolds. I encourage people to hear that song. It's. That's a fun story song, that song. The story really is the story. More Southern Gothic in its tones.

There's nothing here. Of all the songs on the album, the title track, that is exactly what it is.

But there's another song that we have that there really aren't lyrics other than Mono Negra. It's back. That's what it's for. Just repeats on a loop. And I've also had songs like on our previous album, Light Sweet Crude.

The first song on the album, Son of the Snake. Basically the mantra that keeps spinning and spinning is mind over matter. Doesn't matter when you've lost your mind over matter.

Doesn't matter when you've lost your mind over matter. Keeps going. And there's some speaking in tongues in the album. And like, it brings out sort of different space. You.

You can get a little bit more immersed in the song in a different way than if you were just listening for. Well, here's the story being laid out to you.

Speaker A

00:08:07.310 - 00:08:09.549

And so does that come from a religious perspective for you?

Speaker B

00:08:09.549 - 00:08:11.950

All spiritual, not necessarily religious.

Speaker A

00:08:12.030 - 00:08:15.470

How do you find that that plays out? Coming from the south and then moving to California?

Speaker B

00:08:15.630 - 00:09:17.810

Well, there are people here who. I'm surprised. You know, the best thing about music that I found is there are people that will find you that are coming at things from such different.

You would have never expected we could have said, well, this is who we want, the audience. And I'm telling you, that is not at all who the audience is.

And now it's just like this giant open book and we actually Bring a giant book to our shows as part of the show. And it is sort of like a revival thing. We send out the book, get people signing the book and inscribing themselves in the book of the famous.

We make a big deal.

Inscribe yourself in the book of the famous, like let us know something about you and then starting point to talk or get emails or ways to reconnect with people to make sure that they can, you know, find us again. I find that, you know, if you went out and said, okay, this is who the audience that we want. That's not reality.

And it's amazing to me how many different parts of the country, different parts of the world, really, I would tell you we have sold more records.

I mean, I hope I'm not selling anybody out here giving away business secrets, but like, we have sold more records in Germany, Belgium, the Netherlands, pockets of the UK than we do in the United States.

Speaker A

00:09:17.970 - 00:09:19.410

That doesn't surprise me at all.

Speaker B

00:09:19.870 - 00:09:43.310

We have really.

I would love to say we had a plan to go to these folks maybe one day, but I'm intrigued by the half a world away, there are people experiencing this thing that I may never ever meet them. Here in Northern California, we do play a lot. So we do meet a lot of the people that really do enjoy the music.

And it's just fascinating to me the way that this all works now that somebody could be listening to this, you know, halfway across the world.

Speaker A

00:09:43.310 - 00:09:50.430

Yeah, anywhere. And that is one of the incredible things about the ability of our instant communication. What else has worked for you all with that?

Speaker B

00:09:50.800 - 00:10:24.310

You know, we've done every single thing. We have two albums and have done, I mean, the traditional and then the non traditional.

I think the thing that seems to work the best, I mean, and there's some people who are making like really like big careers out of this is some video stuff. Victor, our lead guitarist and, you know, co founder of the band, he really, really got into social media stuff for the band very, very early.

It's part of what he does. And he's just these really a great technical guy as much as he is a great person, a great musician. And that really has helped us connect with people.

Speaker A

00:10:24.630 - 00:10:42.310

You were talking a little bit about the spectacle of your live performance.

It made a little thing run through my head of, you know, I kind of get the revival thing and I get the using some of those techniques in the live performance. Where have you all played that? It has surprised you of how well it's been received, the performance, not just the...

Summary

From 2012: Brett Detar drops into the Country Fried Rock scene, bringing a whole lot of musical wisdom and a splash of nostalgia. He dives into the wild ride of his creative journey, from cranking out tunes in his childhood to blasting off on a solo endeavor that’s as authentic as it gets. The convo covers everything from the chaotic joy of touring to the heartwarming stories behind his songwriting process, revealing how his love for Americana and classic rock shaped his latest record. Brett’s not just about the music, though; he’s got a keen sense of how to connect with fans, even going so far as to give away his record for free to build a real connection. So, if you’re down for some sweet tunes and insightful chats about the ups and downs of the music biz, this episode’s a must-listen!

Show Notes

Country Fried Rock takes a deep dive into the colorful world of music, where creativity and stories mix like a wild honky-tonk dance.

Brett Detar, the star of the episode, opens up about his jam-packed journey, starting with a brutal tour that wrapped up just hours before a music conference in Nashville.

The convo bounces around from:

• A spontaneous 12-hour drive from Salt Lake City to LA, just to grab tacos and flaming margaritas.
• The crazy, energetic vibes of the Americana conference, where Brett rubbed elbows with fellow musicians.
• Through it all, it’s clear that Brett’s not just a musician, he’s a musical nomad, always on the move and influenced by the adventures he’s had on the road.

He talks about how his musical roots were planted early, thanks to:

• A grandmother who was into music.
• A dad who sang in a gospel group.
• From first grade, where he was already scribbling song ideas while waiting in line for the restroom, the music bug bit hard and never let go.

The episode captures that unmistakable feeling of a musician’s journey, full of serendipity, a love for storytelling, and the constant quest for artistic truth.

Brett reflects on how his early love for punk and indie rock evolved into a deep connection with Americana and country music, ultimately inspiring his solo record, which speaks straight from the heart.

This episode is a celebration of:

• Creativity
• The struggle with self-doubt
• The pure joy of chasing your passion

A must-listen for anyone curious about the stories behind the songs and the wild ride of being a musician.

Chapters

• 00:00 - Introduction to Country Fried Rock
• 01:36 - The Journey of a Musician: From Early Influences to Solo Pursuits
• 13:53 - The Journey to Creating My First Solo Record
• 20:15 - The Evolution of My Music
• 28:39 - The Journey into Film Scoring

Takeaways

• Brett Detar shared his journey from a kid writing songs in school to carving out a solo career, emphasizing how music has been a lifelong passion shaped by family influences and personal experiences.
• The transition from band life to solo artistry for Brett involved an exploration of new musical styles, reflecting a natural evolution influenced by years of listening to Americana and country legends like Townes Van Zandt and Loretta Lynn.
• Brett's decision to give away his first solo record for free stems from a desire to reach a broader audience, testing a new model of music distribution without the constraints of traditional label support.
• In the podcast, Brett humorously recounted his whirlwind tour schedule, highlighting the absurdity and adventure of driving across states for shows, which often leads to unexpected encounters and stories.
• Brett revealed the challenges of songwriting in a film scoring context, where he learned to serve the film's narrative rather than his own artistic impulses, emphasizing the distinct worlds of independent music and Hollywood.
• The conversation highlighted the importance of authenticity in music, with Brett discussing how true artistry involves following one's heart and not merely chasing commercial success, a theme echoed throughout the episode.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Brett Detar (via the Wayback Machine), also of The Juliana Theory
• You may also enjoy this conversation with Mike Montali, then of Hollis Brown, now of Fantastic Cat
• Toss a few in our Tip Jar!

Mentioned in this Episode

• Loretta Lynn
• Townes Van Zandt
• Waylon Jennings
• Guy Clark
• Pete Young
• Mastodon
• Civil Wars
• Hank Williams

Recommended If You Like

country music podcast, Americana music, Nashville music scene, creative process for musicians, songwriting inspiration, tour experiences, indie music journey, musicians interviews, music production insights, Brett Detar interview, live music performances, free music downloads, music career decisions, music influences, DIY music culture, vintage clothes selling, recording studio experiences, music promotion strategies, emotional songwriting, independent artist success

Transcript

Speaker A

00:00:00.800 - 00:00:11.920

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey Brett, thanks for being with us on Country Fried Rock.

Speaker B

00:00:11.920 - 00:00:13.200

Thank you so much for having me.

Speaker A

00:00:13.200 - 00:00:19.840

We're glad to have you here. I don't usually get to meet people before I interview them. We kind of ran into each other in Nashville at Americana. That was kind of nice.

Speaker B

00:00:20.000 - 00:00:21.520

Very nice. I enjoyed it.

Speaker A

00:00:21.600 - 00:00:22.400

You've been busy.

Speaker B

00:00:22.400 - 00:00:23.120

Trying to be.

Speaker A

00:00:23.280 - 00:00:25.840

What sort of adventures did you have over that trip?

Speaker B

00:00:26.000 - 00:01:22.670

I had a lot of random adventures, I think just actually going to.

It was an adventure in itself because I was on tour and I had finished, literally finished a tour, I believe, a day and a half before the conference started. Yeah, it was two days before. And so I literally. Last show was in Salt Lake City and I had to pick up some things at my house in LA.

So I drove from Salt Lake City to LA in pretty much 12 hours. Got there at 10 o' clock at night just in time to go to my favorite Mexican restaurant and have a couple flaming margaritas.

Then I went to bed, woke up the next morning and drove straight from LA to Nashville. Did that pretty much without stopping, and then got there and kind of just was like, you know, I couldn't really relax there either.

So I just kind of hung out, ran around, met people, went to shows it by ear. But it was a good time. A lot of running around.

Speaker A

00:01:22.910 - 00:01:25.070

You drive a lot? Not just for touring.

Speaker B

00:01:25.230 - 00:01:36.030

I drive a lot in general, yes. To put it into perspective, I have a car that's three years old and it has 95,000 miles on it. And I did not buy it used.

Speaker A

00:01:36.670 - 00:01:42.830

We'll go way back into how you started playing music originally. Did you get into it as a kid?

Speaker B

00:01:42.990 - 00:03:22.930

I did, yeah. I think it's pretty much one of the standard stories. I had a grandmother who I still do, thankfully, who was very, very musical.

And she almost forced me to take the family heirloom antique piano. Kind of made me take lessons. But at the same time, my dad was in a singing group when I was a kid.

And like a big gospel singing group, I used to go to all the rehearsals and. And watch them. And I know that my dad and mom would sing to me every night.

And so I just remember, I remember kind of always being intrigued by music. And it's a story that sometimes tell, but I kind of forgot about it for a while. But when I was. It was either first or second grade.

A teacher, Ms. Sargent, and she took us all to the restroom, you know, when you're in first grade, they take the whole class. I remember standing in line to use the little boys room. And I was standing there and for some odd reason I decided to write a song. Okay.

So I wrote like a verse and a chorus, maybe even two verses. And when I got back to the class, I asked the teacher if I could sing my song that I wrote in front of the class.

And she was like, yeah, yeah, you can sing. So I got up in front of the class and I sang my song that I wrote and everybody clapped. And afterwards I was like, yeah, this is awesome. And so I.

Three days in a row, the next three days I did the exact same thing. Wrote these stupid little songs and asked if I could sing them in front of the class. And I did.

And I don't know if I got tired of it or she was like, okay, that's enough, Brett. But I guess what I'm trying to say is from a pretty young age, I guess I was just drawn to music.

Speaker A

00:03:23.090 - 00:03:28.050

So from the post Potty Blues, I'm assuming you then continued through like teenage bands.

Speaker B

00:03:28.480 - 00:04:14.140

I did. I did the piano lesson thing for a long time and enjoyed it, but I didn't ever like what I was learning.

I just like to play like my own stuff, try to write songs, and it was cool, but I didn't really take it seriously until I got a guitar when. Not sure even what age I was. I was probably around 14 when I. When I got the guitar.

That was sort of like what really did it and made me like, you know. Before that I played hockey in high school and that was my number one love. And when I got the guitar and started playing, it kind of.

It kind of took over and I went and didn't even try out for the team my senior year. I didn't even go back. I was like, I'm just doing music.

Yeah, I was in like, you know, local bands, playing shows at coffee houses and wherever I could play because I wasn't old enough to play bars.

Speaker A

00:04:14.140 - 00:04:15.580

What were you listening to back then?

Speaker B

00:04:15.740 - 00:04:38.970

Back then I was really like 16, 17, 18. I was really into. I was really like into a lot of the DC punk stuff. Things like fugazi. Like that really kind of.

That's something that really got me into music. And like fugazi always had that DIY ethic. You put out your own records. And so it was a lot of stuff like that at that point in time.

And probably a lot of classic rock too.

Speaker A

00:04:39.370 - 00:04:52.650

The desire to play came fairly early. But then there's also a Lot of work that goes with that. What was your process in terms of making the decision?

It's not just going to be a hobby or something fun, but this is going to be my pursuit.

Speaker B

00:04:53.110 - 00:06:16.510

Well, I remember being 16, starting my first, what I thought was a serious band with my friends and telling my parents, I don't want to go to college, I want to be in a band and I want to go on tour. To which, of course, they said, no, you have to go to college. You can't be in a band. You can't seriously be. You'll never make any money.

Which they were definitely right on that part. I probably should have listened to them. But sometimes you follow the muse and you don't really listen to logic. And as.

As most musicians, career musicians, you kind of can't be logical. Basically what happened was I started a band with some of my friends and Somehow I was 18 and I went to.

I didn't want to go to college, but my parents still sort of forced me and said I had to. So because I did really well in high school, I got to go to community college for free. Got a scholarship or whatever.

So I did one semester, and I was friends with this metal hardcore band I was actually a huge fan of at the time. They lost a guitar player and asked me if I could replace the guitar player. And so that was 18. And I said yeah.

And I quit going to college and started touring full time. Then everything just sort of went from there. I had another band I was in at the same time that I was the singer for, and that kind of.

We started touring full time and, you know, it just kind of continued, I guess I just. It just happened sort of.

Speaker A

00:06:16.510 - 00:06:30.190

You've had a pretty, I guess, storied history in terms of being in and out of different bands professionally and in different routes. What's led to where this record comes from as a solo pursuit? Because it's a big change for you, stylistically.

Speaker B

00:06:30.350 - 00:07:42.410

It is a big change, you know, from being a kid that basically played in, for the most part, being known for doing like, melodic indie, alternative rock kind of stuff. It's definitely a change, but it was an extremely natural change. I don't. I don't think that mean.

Maybe some people do, but I don't think most people would say I'm going to make a full comparison, Americana, country kind of record, because you think it's the smart thing to do or because it's. Because it's the cool bandwagon to be on, I think, to do this kind of music. And to do it justice, it really has to be authentic and it has to come.

Come from your heart.

For me, it was definitely, literally, I went on an eight year binge where I listened to nothing but Towns, Van Zant, Waylon Jennings, Loretta Lynn, Guy Clark and, you know, that kind of music. And that was pretty much the only thing I was listening to. And so it was really just, you know, I broke up my band and was.

I knew that I wanted to make a record like this, but, you know, it took a while for me to write the right songs and for the, for the right time, do it properly.

But yeah, it's just one of those things where, you know, you kind of grow out of a certain kind of music that you start playing when you're 18 years old and you life takes you on a different path. And I guess this record just really came from. It was just genesis of what I had been listening to.

Speaker A

00:07:42.660 - 00:07:56.580

From the creative perspective, it's easy to see how a musician, a songwriter would move and grow and be influenced by new things. But that's a really hard. From a practical standpoint, that's a really hard decision to make.

Speaker B

00:07:56.980 - 00:08:51.340

It can be.

But at the same time, for better or for worse, one of the things that's always driven me as a musician is actually doing something I love and believe in. Which again can be a detriment commercially.

Because if certain people expect you to do something specific and you have a fan base that wants you to do something, something specific, and you don't necessarily do that, you can be alienating a lot of people. But I think if you're a true artist, you kind of have to follow what you believe in. And that was the case for me. It wasn't.

I could have continued in my old band and we could have continued making records and touring and there's still a fan base for it, but my heart was genuinely not into like heavy guitar rock stuff anymore. And so it was just a matter of, you know, this is actually the music that I loved. And so it almost wasn't a choice for me.

It was like, well, if I'm gonna write songs, this is the kind of songs I'm gonna write, because this is the kind of songs that I love. So I almost feel like I didn't have a choice.

Speaker A

00:08:51.500 - 00:08:56.380

What was your process in terms of the songwriting and then heading into the studio?

Speaker B

00:08:56.780 - 00:11:50.040

Well, more or less, I. As much as I knew in the back of my head that I wanted to make a record like this, I didn't actually believe that it would happen.

I Quit music, gave up on my dream, and felt really. I had a long period of feeling really defeated and feeling like I wasn't sure of myself anymore as a writer.

Didn't know if I could write songs that I liked or that people would relate to. And throughout all that, I had this tape recorder thing, like a little digital recorder thing that doctors talk into.

And I would sit down and write something for a minute or two on guitar and sing and quickly record it and not really listen to it.

And after maybe a year and a half, two years of that, I sat down one day and decided to try to listen back and see what I had and realized that there was at least an album's worth of songs in there. And that's when I started to come to the realization that I probably had a record and that I should probably make one.

And I ended up getting a hold of this guy, Pete Young, who was a drummer for Loretta Lynn and a producer in Nashville, and ended up finding him on the Internet. And we started talking and he helped me round up a good group of musicians. And I just ended up going down to Nashville to do an ep.

I went down to do a four song ep. And so the first day, I definitely never made a record like this. I'd always done the band thing.

You rehearse the songs for three months and you go into the studio, you know the songs inside and out. This was the polar opposite. I went down and had the lyrics written down on paper. I had never played any of the songs with anybody.

I had never really played them myself. I wrote them, put them on a tape recorder and never played them again. I went down to Nashville, they write out the charts for the songs.

You know, they have the arrangement better than me because they can read the charts. I have no idea what the national numbers charts is. So I'm sitting there reading my lyric sheet, like sort of playing.

And so it was this totally magical experience where the first four songs track them in a day. And most of them are...

Summary

From 2012: Tara Nevins of Donna the Buffalo dives into her journey of creativity and self-discovery in this episode, kicking things off by chatting about her latest solo album, Wood and Stone. She shares how her upbringing in a musically vibrant household and her classical training on the violin shaped her path, leading her to embrace the roots of old-time fiddle music that resonate deeply within her. Tara reminisces about her time in Huntsville, Alabama, where she penned much of the album, revealing how the laid-back Southern vibe inspired her songwriting and allowed her to explore new musical avenues. With a mix of personal anecdotes and reflections on her artistic evolution, she highlights the significance of collaboration, especially her serendipitous connection with producer Larry Campbell, which helped her craft a record that celebrates her journey while keeping the fiddle close to her heart. This episode is packed with warmth, wisdom, and a whole lot of musical soul, perfect for anyone looking to vibe with the creative process.

Show Notes

Diving into the vibrant world of music and its eclectic influences, Sloane Spencer welcomes Tara Nevins, the creative force behind Donna the Buffalo, to chat about her solo project, Wood and Stone. Tara reflects on her roots, tracing her musical journey from the violin in public school to the heartfelt fiddle tunes that embody her current work. With a warm, conversational vibe, Tara shares anecdotes about her upbringing in a musically rich household, where gatherings would turn into lively jams, setting the stage for her eventual dive into the world of old-time and folk music. Throughout their chat, they explore how her time spent in Huntsville, Alabama (where she penned much of her new album) shaped her artistic perspective. In a thoughtful exchange, Tara explains how her creative process evolved after significant life changes, including her marriage ending, highlighting the introspection that fueled her songwriting. The duo dives deep into the influences of traditional and modern sounds, illustrating how Tara's unique blend of genres manifests in her latest work. As they uncover the sonic tapestry of Wood and Stone, listeners are treated to a glimpse into the heart of a musician who embraces her past while forging a new path, embodying the spirit of creativity and resilience.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Tara Nevins of Donna the Buffalo
• You may also enjoy this conversation from 2015 with Willow Avalon's dad, Jim White
• Toss a few in our Tip Jar!

Chapters

• 00:08 - Interview with Tara Nevins
• 02:46 - The Journey into Traditional Music
• 11:21 - The Journey of Self-Discovery Through Music
• 13:24 - Transitioning to New Beginnings in Music Production
• 17:30 - Cultural Reflections on Living in Alabama

Takeaways

• Tara Nevins' journey into music was deeply influenced by her childhood experiences and family gatherings filled with music, showcasing the importance of early exposure to artistic expression.
• Living in Huntsville, Alabama, brought Tara a refreshing perspective on southern culture, highlighting the warmth and non-judgmental nature of the community, which inspired her creativity.
• The evolution of Tara's sound in her new album Wood and Stone reflects her personal growth after significant life changes, blending elements of traditional music with modern influences.
• The collaboration with Larry Campbell marked a pivotal moment for Tara, as it allowed her to explore new musical avenues while maintaining her roots in old-time and folk traditions.
• Tara's songwriting process during her time in Alabama was fueled by introspection and self-discovery, leading to a record that conveys a vibrant and upbeat vibe despite its thematic depth.
• The supportive nature of fans in the folk music scene is a testament to the community aspect of music, where audiences are eager to embrace and explore the individual members' solo projects.

Mentioned in this Episode

• Donna the Buffalo
• Sugar Hill Records
• Larry Campbell

Recommended If You Like

Country Fried Rock, Tara Nevins, Donna the Buffalo, Wood and Stone album, old time fiddle music, Southern music, Huntsville Alabama, folk music community, creative process, songwriting inspiration, traditional music, acoustic guitar, bluegrass music, fiddle festivals, relationship reflections, music collaboration, Larry Campbell, music production, independent artists, music interviews

Transcript

Speaker A

00:00:00.320 - 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 is Tara Nevins of Donna the Buffalo on her solo effort Wood and Stone.

Thank you, Tara, for being with us on Country Fried Rock.

Speaker B

00:00:18.240 - 00:00:19.440

Well, thanks for having me.

Speaker A

00:00:20.000 - 00:00:21.760

How did you learn to play as a kid?

Speaker B

00:00:22.080 - 00:02:23.480

Where I grew up, where I went to school, had a public school system that I grew up in, had a really good music department and I was offered, you know, like everybody in grammar school, whatever, to pick an instrument. And I chose the violin. And so I, you know, I basically learned, you know, in public school and then through high school to play violin.

And I also had an acoustic guitar at home and I started, you know, I taught myself to play guitar at home. And I always really loved music. My mother and father loved music and were always having folks up.

They grew up in Greenwich Village and on the weekends and they grew up in Greenwich Village and then when they got older and they got married, they left the city and moved up to where I grew up in Orangeburg, New York, or which is a suburb of New York City, I guess you'd say.

And so on the weekends, all their crazy friends from Greenwich Village would come up and they'd pull back the rugs and have these just get togethers almost every weekend and dance all night, listen to music. So my family, there was always a lot of music in my family and a lot of support from me playing music.

So when I was playing the violin through high school and learning the acoustic guitar and buying my songbooks, my James Taylor and Carole King and all my song books, learning these different songs, I actually started writing songs then too. I guess when I was then in college for my classical studies, I discovered old time fiddle music. And so it was then that I.

My world shifted in direction, kind of. Although I have to say that even when I was in high school, I was fascinated by fiddle music.

And I had a Mel Day fiddle book, you know, and I would actually sit in the back of orchestra practices and sort of be, you know, while the conductor was talking to the trumpet section or something, I'd be back there, you know, playing, you know, really quiet, trying to play turkey, turkey in the straw. Fiddle book. I always had an affinity for that.

And when I was in high school also, I guess it was high school, yeah, that I got the album Will the Circle Be Unbroken.

Speaker A

00:02:23.480 - 00:02:23.960

Yes.

Speaker B

00:02:23.960 - 00:04:01.390

And that was really inspirational to me.

But then I went off to college and was in the classical music program, but there my roommate turned out to be someone who played in an old time fiddles band, that turned my head right there. And the minute I graduated out of college, I just dove into traveling to fiddle festivals and playing fiddle music.

And I never played another note of classical music. After I graduated I just dove right into what I think had been a yearning inside of me all along.

So I kind of went down that road into the world of traditional music. And over the years I'm part of a large community of folk that play old time fiddle music.

And during that time you naturally discover other traditional music when you're doing that.

And so I traveled to Louisiana and discovered the Sydeco and Cajun creole music there and fell in love with that and bought an accordion and this whole time was writing songs. And so it was sort of like over the course of many years, just an evolution of, you know.

And then I was playing the old time fiddle music and for like 10 years was in a band called the Heartbeats and all female string band and pretty hard driving fiddle tunes and songs. And then dawn of the Buffalo started.

And so now Don the Buffalo, you know, is sort of has a combination of a lot of all of these influence, you know, the fiddle music and the country music and the zydeco music and so on and so forth, you know.

And I still travel to all these fiddle festivals and I'm part of this old time fiddle community and it's a big part of guess where my sort of center of music comes from. And that's also the need to make a record like I just did too.

Speaker A

00:04:01.470 - 00:04:13.370

I appreciate that you, you encapsulated what it is that drives someone as creative as you are to investigate these different styles within what they're. Have you been based out of the greater New York area this whole time?

Speaker B

00:04:13.690 - 00:04:44.650

Yeah, basically I'm hardly ever here, but yes, I spent four years, two years ago, four years leading up to two years ago. That makes sense. I spent four years spending a lot of time basically sort of living in Huntsville, Alabama.

And that's actually where a lot of this record was written and. Yeah, so yeah, but I'm from here and I still have my apartment here and that's where I am right now.

And we have a few days off and so yeah, just I travel so much, I'm hardly ever here and I'd love to move to the South. I love the South.

Speaker A

00:04:44.730 - 00:04:47.210

You know, if you're going to move to the South, Alabama will do it.

Speaker B

00:04:47.450 - 00:05:28.630

Yeah, no, absolutely. Absolutely no.

I was, I was seeing someone, you know, and one of the relationships reflected in the album, the writing of the record, I never would have necessarily looked at the map and pointed and put my finger on Alabama, necessarily, because a lot of the fiddle music I play traveled to North Carolina a lot, Virginia and such, you know, and I. So I do travel and I enjoy tennis, but I hadn't really had much of any experience with Alabama.

But after spending time there, I just really fell in love with Huntsville. And I really, really like Alabama. And it's just I have just this yearning to move to the south, have the opportunity I may.

Hey, this is Tara Nevins and you're listening to Countryside Rock.

Speaker A

00:05:28.790 - 00:05:31.990

I wondered what led to covering Stars Fell in Alabama.

Speaker B

00:05:32.070 - 00:06:34.590

What actually led me to covering that actually, is when I was living in Huntsville, I was approached by these gentlemen that were directing and producing a movie called 20 Years After.

And they asked me, they knew I was spending time there in town and I was hooked up with them and they asked me if I would rewrite that song, Stars Fell in Alabama, they said, you know, the jazz classic Stars Fell in Alabama.

Would you consider kind of rewriting it for the movie in like an old time sort of mountain music approach, you know, same lyrics, but completely different melody treatment. And basically I was commissioned to do that and I did that. And it's in the soundtrack of the movie. So that's where that came from.

But definitely, probably would never have come my way as an opportunity if I hadn't been living in Huntsville, Alabama. And it's just funny that the song is called Stars Fell in Alabama. I mean, how horrible. I was talking to a friend down there last night.

Huntsville was hit pretty hard. It's just awful. And I have friends down there just sort of.

Because, you know, they lost electricity and when you lose that, you can't charge your cell phone. Right.

Speaker A

00:06:34.590 - 00:06:42.230

You know, and it's been terrible. Over 300 people killed. I mean, just the Tuscaloosa, Birmingham, I mean all the way up to Huntsville. Just terrible.

Speaker B

00:06:42.650 - 00:07:02.970

I know, it's just. It makes you really crazy things that have been happening weather wise.

You know, this makes you really wonder what's going on just around the world with all the tsunamis and the earthquakes and fires and the extra snow every year and all these places that don't normally get it and these storms and these like 100 and something tornadoes hitting down in Alabama.

Speaker A

00:07:03.050 - 00:07:03.610

Insane.

Speaker B

00:07:03.610 - 00:07:16.940

I can't even fathom that makes you think that, you know, it's all true and that the world is about to end or something. And when I was spending time in Huntsville, there would be Warnings and sirens would go off, but there would never.

There never was one in Huntsville in my time.

Speaker A

00:07:17.020 - 00:07:33.020

Right.

We've had a lot of focus on the resurgence in the Muscle Shoals sound and the Muscle Shoals music scene right now, but not so much old time music coming out of Alabama. What kind of support did you have for playing live there? Or were you simply based there and on the road a lot?

Speaker B

00:07:33.260 - 00:08:05.080

I was based there and I was on the road a lot. But there's definitely a group of folks that play old time music there.

In fact, where I was living, there was fellow and his wife that lived right down the street from me that I actually knew from the old time community and I spent a little bit of time with them and that was really nice. Definitely invited to some gatherings and so yeah, it doesn't have a super loud voice there in Huntville anyway, but it is there.

You know, I did experience it a little bit while I was there, but yeah, I was on the road a lot and when I was there, I was taking it pretty easy.

Speaker A

00:08:05.480 - 00:08:22.730

You said you wrote the bulk of this record while you were living there. When I first listened to this, I had like these little snippets of inspiration from completely different music and it just really drew me in.

So what was leading you creatively to this solo venture?

Speaker B

00:08:23.450 - 00:08:59.309

Well, I made an. This is my second solo album. I made one probably came out also on Sugar hill Records, probably 10 or 11 years ago.

Yeah, it was called Mule to Ride and it was really an old time, sort of slash, light, curly, bluegrass kind of sound. Really featured my fiddle playing and sort of a cast of thousands. And I only sang maybe two songs on it. Mostly traditional public domain material.

And I knew how to do that. I knew how to present it, I knew how to produce it. So I produced the record and all that. I always knew I would do another one.

It was part of my whole situation with Sugar Hill and I wanted to do another one.

Speaker A

00:08:59.309 - 00:08:59.589

Right.

Speaker B

00:08:59.589 - 00:14:02.650

It took me this long to get around to it being busy in dawn of the Buffalo and also, and I'm glad it took this long because I knew that anyway, so because it's been this many years, I wanted to do something different. I didn't want to do the same thing again, of course. Well, I guess what happened was I just started writing these songs.

I was married for a long time and I thought I would always be married, you know. And six years ago that marriage ended and it was a huge shift in my life, my level of independence and all that.

And from then till now, I've had some other relationships and I've just. It's been a time of a lot of discovery and finding yourself core and your strength.

And it's been actually really a great time of discovery and just reflection on these relationships. And I just.

In this time period and living in Huntsville, I just started writing these songs and it kind of came together and I thought, this is my record, you know, this is what I have to say right now. And this is, you know, the fiddle will be on this record. And it is. It's not always the main featured instrument.

You know, Larry Campbell's wonderful pedal steel and electric guitar and then this banjo and you know, so on and so forth and you know, life just works in a mysterious way, as we know.

And for some reason I was just led in this direction and these songs came about and then my opportunity to record with Larry Campbell came about and I realized actually when I was writing these songs I was, I was getting excited and I was thinking, wow, you know, these songs, these songs, like, you know, when you make a record, you kind of want to paint a picture and you kind of want to say something. You kind of want. It's kind of nice to send one sort of vibe out there or one sort of message.

And when I was writing these songs, I was like, God, you know, these songs, they're. They're not downers. Even though they're about relationships, they're pretty upbeat.

I like the vibe and you know, I think all these songs together could make like one cool, paint one cool picture in a record. I wasn't sure how to do it because it wasn't about just playing bluegrass or old time music. It's about songs.

It's about me singing about what instrumentation should I use. I don't want it to be like rock and roll. I don't want it to be totally, totally soft tracks with no drums somewhere in the middle.

I don't know exactly how to do this. So I realized I could not. I didn't want to produce it myself. I wanted someone to help me.

But I had a sort of an idea in my head of what I wanted it to be.

So I think that my marriage ending and the six years in between writing these songs, spending the time in Huntsville, Alabama, just this whole growth period, I guess you say self discovery, it's a pretty introspective record and it just kind of led me in this direction and I don't know, here I am. And then I got the opportunity...