Country Fried Rock

Summary

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

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

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

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

Bio

Chapters

1. 00:15 - The Shift in Artistic Expression
2. 02:55 - Transitioning from Art to Music
3. 04:14 - The Journey into Music and Art
4. 06:32 - Navigating the Craft Cocktail World
5. 08:38 - The Excitement of Music Recommendations

Show Notes

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

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

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

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

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

Listen in for:

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

Where to Find Caitlin:

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

Subscribe, Rate & Review:

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

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

Takeaways

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

Links

1. caitlincary.com
2. Get to know some of our other Regulars
3. 
   

Mentioned in This Episode

1. Tres Chicas
2. Humble Pie
3. Pour House Music Hall
4. NC State
5. North Carolina Art Museum

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

Transcript

Speaker A

00:00:02.400 - 00:00:33.850

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

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

Speaker B

00:00:35.130 - 00:01:19.030

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

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

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

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

Speaker A

00:01:19.580 - 00:01:47.840

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

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

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

Speaker B

00:01:48.080 - 00:01:54.480

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

Speaker A

00:01:55.520 - 00:02:54.950

Yes.

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

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

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

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

Speaker B

00:02:55.670 - 00:02:59.670

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

Speaker A

00:03:01.110 - 00:04:38.990

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

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

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

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

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

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

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

Speaker B

00:04:39.230 - 00:04:42.430

So congratulations. That is just spectacular.

Speaker A

00:04:42.510 - 00:04:51.710

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

Speaker B

00:04:53.950 - 00:05:12.350

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

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

Speaker A

00:05:13.550 - 00:06:32.700

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

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

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

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

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

Speaker B

00:06:32.700 - 00:06:45.420

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

Speaker A

00:06:45.900 - 00:06:46.620

Yeah, right.

Speaker B

00:06:48.140 - 00:06:50.380

Where would you like people to find you?

Speaker A

00:06:51.100 - 00:07:26.970

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

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

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

Speaker B

00:07:27.530 - 00:07:31.290

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

Speaker A

00:07:32.250 - 00:07:35.450

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

Speaker B

00:07:35.850 - 00:07:40.730

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

Speaker A

00:07:40.810 - 00:07:42.570

That's right. Anyway.

Speaker B

00:07:42.650 - 00:08:01.660

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

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

Speaker A

00:08:02.220 - 00:08:38.400

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

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

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

Speaker B

00:08:38.640 - 00:08:50.860

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

Speaker A

00:08:50.860 - 00:08:52.140

Good to talk to you, Sloane.

Speaker B

00:08:53.500 - 00:09:10.940

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

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

Summary

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

Show Notes

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

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

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

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

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

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

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

Links

• divebarmusicclub.com
• Meet the Regulars

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

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

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

Transcript

Speaker A

00:00:01.600 - 00:00:49.300

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

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

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

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

Summary

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

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

Links

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

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

Show Notes

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

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

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

Chapters

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

Takeaways

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.800 - 00:00:14.400

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

Speaker B

00:00:14.480 - 00:00:15.520

I'm glad to be here.

Speaker A

00:00:15.520 - 00:00:17.760

Appreciate you being here. When did you start playing?

Speaker B

00:00:18.400 - 00:01:09.560

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

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

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

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

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

Speaker A

00:01:10.520 - 00:01:17.640

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

Speaker B

00:01:17.960 - 00:02:14.200

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

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

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

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

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

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

Speaker A

00:02:14.200 - 00:02:19.480

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

Speaker B

00:02:20.040 - 00:03:06.590

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

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

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

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

Speaker A

00:03:06.670 - 00:03:07.150

Yeah.

Speaker B

00:03:07.150 - 00:03:38.840

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

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

Blows me away like 21 year old. Look at.

Speaker A

00:03:38.840 - 00:03:43.160

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

Speaker B

00:03:43.320 - 00:04:30.600

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

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

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

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

Speaker A

00:04:31.480 - 00:04:37.880

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

Speaker B

00:04:37.960 - 00:04:57.510

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

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

You can, but you're still anonymous.

Speaker A

00:04:58.230 - 00:05:03.830

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

Speaker B

00:05:03.990 - 00:06:04.470

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

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

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

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

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

Speaker A

00:06:04.630 - 00:06:05.030

Right.

Speaker B

00:06:05.110 - 00:06:15.110

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

Speaker A

00:06:15.670 - 00:06:25.830

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

Speaker B

00:06:26.310 - 00:07:15.930

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

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

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

Speaker A

00:07:16.410 - 00:07:18.330

So where did that road take you early on?

Speaker B

00:07:18.730 - 00:09:14.320

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

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

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

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

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

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

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

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

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

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

Speaker A

00:09:14.480 - 00:09:21.600

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

Speaker B

00:09:22.000 - 00:10:26.960

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

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

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

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

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

You know, we...

Summary

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

Links

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

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

Show Notes

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

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

Chapters

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

Takeaways

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.800 - 00:00:12.960

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

Speaker B

00:00:13.120 - 00:00:14.160

Good morning, Sloan.

Speaker A

00:00:14.160 - 00:00:15.360

Thanks for being with us.

Speaker B

00:00:15.520 - 00:00:16.720

Yeah, it's good to be here.

Speaker A

00:00:17.040 - 00:00:20.880

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

Speaker B

00:00:21.280 - 00:01:12.720

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

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

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

Speaker A

00:01:13.040 - 00:01:16.400

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

Speaker B

00:01:16.559 - 00:01:23.600

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

Speaker A

00:01:23.760 - 00:01:24.240

Yeah.

Speaker B

00:01:24.320 - 00:01:54.520

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

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

So kind of all over the map growing up.

Speaker A

00:01:55.080 - 00:01:57.240

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

Speaker B

00:01:57.240 - 00:03:04.240

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

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

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

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

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

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

Speaker A

00:03:04.400 - 00:03:10.160

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

Speaker B

00:03:10.160 - 00:03:37.020

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

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

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

Speaker A

00:03:37.420 - 00:03:44.380

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

Speaker B

00:03:44.860 - 00:04:26.920

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

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

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

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

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

Speaker A

00:04:27.080 - 00:04:28.040

Where'd you go to school?

Speaker B

00:04:28.040 - 00:04:29.880

I went to Dartmouth College.

Speaker A

00:04:29.880 - 00:04:30.680

Oh, yeah?

Speaker B

00:04:30.760 - 00:04:42.840

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

Speaker A

00:04:43.480 - 00:04:47.560

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

Speaker B

00:04:47.560 - 00:06:59.580

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

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

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

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

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

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

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

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

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

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

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

Speaker A

00:06:59.740 - 00:07:09.750

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

So if this music thing doesn't work out.

Speaker B

00:07:10.150 - 00:08:07.990

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

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

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

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

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

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

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

Speaker A

00:08:08.710 - 00:08:27.510

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

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

Speaker B

00:08:28.700 - 00:09:26.640

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

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

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

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

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

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

Speaker A

00:09:26.720 - 00:09:31.280

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

Speaker B

00:09:31.680 - 00:10:46.540

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

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

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

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

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

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

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

It was really kind of unplanned and organic.

Speaker A

00:10:47.180 - 00:10:49.980

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

Speaker B

00:10:50.220 -...

Summary

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

Show Notes

The Roots of Rock with Mark Durfield

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

Episode Highlights:

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

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

Links

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

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

Chapters

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

Takeaways

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.800 - 00:00:15.360

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

Speaker B

00:00:15.600 - 00:00:16.320

Thank you.

Speaker A

00:00:16.320 - 00:00:17.280

Thanks for being with us.

Speaker B

00:00:17.360 - 00:00:18.000

Pleasure.

Speaker A

00:00:18.000 - 00:00:19.680

How'd you get into music originally?

Speaker B

00:00:19.840 - 00:00:53.580

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

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

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

Speaker A

00:00:53.740 - 00:00:59.740

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

Speaker B

00:01:00.100 - 00:01:58.910

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

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

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

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

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

Speaker A

00:01:58.910 - 00:02:01.330

And what kind of gospel did your mom listen to?

Speaker B

00:02:01.410 - 00:02:44.910

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

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

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

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

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

Speaker A

00:02:45.310 - 00:02:49.590

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

Speaker B

00:02:49.590 - 00:02:50.030

Yes.

Speaker A

00:02:50.190 - 00:02:52.350

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

Speaker B

00:02:52.670 - 00:03:27.070

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

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

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

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

Speaker A

00:03:27.440 - 00:03:28.000

That is funny.

Speaker B

00:03:28.000 - 00:03:53.360

It's strange.

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

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

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

Speaker A

00:03:53.700 - 00:03:57.180

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

Speaker B

00:03:57.180 - 00:04:31.850

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

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

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

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

Speaker A

00:04:32.010 - 00:04:32.650

Exactly.

Speaker B

00:04:32.650 - 00:05:15.260

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

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

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

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

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

Speaker A

00:05:15.260 - 00:05:23.650

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

Speaker B

00:05:24.200 - 00:06:32.360

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

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

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

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

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

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

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

Speaker A

00:06:32.520 - 00:06:33.000

Wow.

Speaker B

00:06:33.560 - 00:06:44.400

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

Speaker A

00:06:44.400 - 00:06:44.760

Right.

Speaker B

00:06:45.000 - 00:08:09.460

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

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

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

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

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

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

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

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

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

Speaker A

00:08:10.140 - 00:08:16.460

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

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....