Summary

Mic Harrison of Mic Harrison and the High Score joins us to discuss his musical journey, which began in his childhood as a rhythm guitarist for his father. With a rich history that includes being a member of the V. Roys, Harrison has transitioned into creating compelling roots rock alongside his current band. This episode delves into the evolution of their sound and the collaborative spirit that defines their work, particularly as they prepare to release new music. Notably, we reflect on their recent experience performing with the esteemed Con Hunley, which has greatly influenced their artistic direction. Join us as we explore the nuances of their creative process and the challenges of balancing live performances with recording aspirations.

What We Wrote in 2015

Mic Harrison & The High Score started as the merging of a backing band for Harrison’s solo work, but has become a band in itself over the years. After John Paul Keith moved on from regionally beloved band, The V-Roys, to pursue his solo career, Harrison stepped in and joined the band for their run of albums on Steve Earle’s former label and cemented themselves in Southeastern roots rock clubs. (Former V-Roys member Scott Miller is also an alumnus of Country Fried Rock.) Mic Harrison and the High Score have hit a balance, reasonable day jobs to support their families, with high-intensity shows and openers across the region on weekends. Such is the reality for many musicians, saving enough money to either tour or record an album, but always making new music to feed their souls.

Show Notes

• We dive into the musical journey of Mic Harrison, a longtime staple of the Knoxville music scene and frontman of Mic Harrison and the High Score.
• Mic shares stories from his early days playing music with his dad, a key influence that helped spark his love for performing and songwriting.
• We talk about his time with the V. Roys, a band that made a lasting impact on the regional roots rock scene and helped shape his approach to music.
• Now with the High Score, Mic continues to evolve artistically, blending honest, roots-driven songwriting with a sound that still feels fresh and relevant.
• A big part of the conversation centers on his creative partnership with bandmate Robbie Trosper. They walk us through how their songwriting often starts with casual idea-sharing and grows into fully-formed tracks.
• We also touch on the push and pull between studio work and live shows, and how they work to keep their sound consistent, authentic, and connected to the energy of their audience.
• Mic gets real about the behind-the-scenes challenges of being a working musician today, from the financial strain of touring to the logistical headaches of recording independently.
• We explore how the music industry is shifting, especially with the rise of digital platforms. Mic offers thoughtful takes on how these changes affect everything from album releases to fan engagement.
• The episode wraps up with a reflection on the future of live music in a digital-first world, and why, despite it all, the power of music to bring people together hasn’t lost its spark.

This episode is a deep dive into not just Mic Harrison’s story, but the larger world of independent musicians navigating a constantly changing industry, with grit, creativity, and a whole lot of heart.

Links

• Mic Harrison and the High Score
• Mic Harrison and the High Score on Bandcamp
• You may also like our conversation with the Bones of JR Jones
• After you buy music or see a show, we would love your support of a few bucks in our Tip Jar.
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars.

Takeaways

• Mic Harrison's journey into music began when his father needed a rhythm guitarist to accompany his lead guitar playing.
• The formation of Mic Harrison and the High Score was a natural evolution from their previous collaborations in various bands.
• Their recent project involved a charity event in Knoxville, demonstrating their commitment to community and music appreciation.
• Mic and Robbie emphasize the importance of creating music that can be performed live, maintaining authenticity as a band.
• The band is actively working on new material, aiming to release an album that reflects their growth and experimentation in sound.
• Mic Harrison and Robbie Trosper shared insights about the challenges of touring and balancing personal lives with musical aspirations.

Mentioned in this Episode

• Mic Harrison
• High Score
• V. Roy's
• Scott Miller
• John Paul Keith
• Steve Earle
• Super Drag
• Con Hunley
• Wayne Bledsoe
• Drivin n Cryin

Recommended If You Like

country fried rock, Mic Harrison, High Score band, roots rock music, Knoxville Tennessee music, V. Roy's band, Scott Miller music, Con Hunley, charity event Wayne Stock, songwriting process, live music performance, indie music podcast, Southern rock, new album release, music collaboration, band dynamics, recording music, music influences, touring challenges, music industry insights

Transcript

Speaker A

00:00:00.160 - 00:00:27.920

Welcome to Country Fried Rock. I'm your host, Sloane Spencer. This week I'm talking with Mick Harrison of the Knoxville, Tennessee based band Mick Harrison and the High Score.

I originally became familiar with Mick Harrison's music when he was still part of the V. Roy's originally acclaimed band with fellow Country Fried Rock alum Scott Miller. And even an original member before they recorded their first album, John Paul Keith.

The band was on Steve Earle's former record label for three fantastic records.

Speaker B

00:00:27.920 - 00:00:28.120

The first.

Speaker A

00:00:28.190 - 00:00:40.190

But Mick Harrison is not just his musical past as he joined forces with the band the High Score to continue to make fantastic roots rock. MC Harrison in the High Score today on Country Fried Rock.

Speaker B

00:00:40.350 - 00:00:49.870

My guest today on Country Fried Rock is Mick Harrison of MC Harrison and the High Score. And we're going to switch the phone off a little bit with Robbie Trosper as well. So welcome.

Speaker C

00:00:50.190 - 00:00:51.390

Hey, thanks for having us.

Speaker B

00:00:51.390 - 00:00:59.030

I'm glad to make this happen.

I was saying off the air, I was like, I kind of been stalking y' all in a completely professional manner for a while, so I'm really happy to have you with me today.

Speaker A

00:00:59.030 - 00:00:59.550

Thank you.

Speaker C

00:00:59.550 - 00:01:03.850

And I said, too, we need a whole lot more few people to stop us like this.

Speaker B

00:01:04.170 - 00:01:13.050

Grateful for that. Grateful for that. I am obviously familiar with many of your bands over the course of the time, but how did you get into music?

Speaker C

00:01:13.610 - 00:01:32.230

Well, actually, I got into it by. My dad needed a rhythm guitar player so he could sit around and play his lead. That's actually how I got into it.

And I wasn't a very good guitar player, so I started writing songs. Oh, yeah, that's the deal. My dad was a great guitar player, and he was like, hey, let me show you this.

And he would just show me some blues riffs or whatever, and. And that's kind of how I got started for me, anyway.

Speaker B

00:01:32.230 - 00:01:35.670

Cool. So when did it become something beyond just supporting your dad?

Speaker C

00:01:35.990 - 00:01:49.190

When the B. Roy's asked me to join. I mean, you know, I just been goofing around in West Tennessee forever, and they asked me to join and make a pretty big move to Knoxville.

That's when it got real. I hate to even say that, but that's really when it got real.

Speaker B

00:01:49.350 - 00:01:55.510

V. Roy's regionally beloved band. And I think we've now had all of y' all on the show individually.

Speaker C

00:01:56.110 - 00:01:56.350

Really?

Speaker B

00:01:56.430 - 00:01:57.310

I think so.

Speaker C

00:01:57.310 - 00:01:58.790

Well, I'm sure you had Scott on there.

Speaker B

00:01:58.790 - 00:02:00.270

One of our most popular programs ever.

Speaker A

00:02:00.270 - 00:02:00.990

As a matter of fact.

Speaker C

00:02:02.350 - 00:02:02.910

Of course.

Speaker B

00:02:03.950 - 00:02:07.150

But I think he's attending COWS these days, for the most part.

Speaker C

00:02:07.150 - 00:02:13.310

Oh, yeah, yeah. Yeah, everything now, record art, even record titles, whatever, have got something to do with Cows.

Speaker B

00:02:13.550 - 00:02:20.270

I first got to know you then, as joining up with the V. Roy's, you came in on the last record for the band, is that right?

Speaker C

00:02:20.350 - 00:02:28.960

Yeah. John Paul Keith, he was in before they actually signed. I don't know what happened. They called me up and I took his place.

And, yeah, I was right on the top of it.

Speaker B

00:02:28.960 - 00:02:31.240

Y' all had a nice ride for five or so years.

Speaker C

00:02:31.240 - 00:02:48.320

And then it was like me and Robbie actually formed a band after that. When the B. Roy's called it quits, we formed a band called the Faults.

I don't know, we did what, about a year, year and a half or something like that. Then I got asked to be a sideman in Super Drag. So I did that for a while, and then me and Robbie reformed after that.

Speaker B

00:02:50.320 - 00:02:52.640

So y' all are longtime professional buddies?

Speaker C

00:02:53.000 - 00:03:03.280

Oh, yeah, believe me. I mean, me and Robbie's been in bands together way longer than I've been in any other bands combined.

Hey, this is Mick Harrison from Mick Harrison High Score, and you're listening to Country Fried Rock.

Speaker A

00:03:03.280 - 00:03:22.454

Hey, y', all, this is Sloan Spencer, the host of Country Fried Rock. Those of y' all who listen on our podcasts, it's a quick hit of just the conversation.

If you want the full radio program with all the songs that we talk about, ask for it on your local radio station, joining 20 other stations across the country. Get the goods@country.

Speaker B

00:03:22.706 - 00:03:28.160

Friedrock.org I've now got my other guest, Robbie Trosper, on the phone. Thank you so much for being with us.

Speaker C

00:03:28.400 - 00:03:28.800

Hello.

Speaker D

00:03:28.800 - 00:03:29.760

Thanks for having us.

Speaker B

00:03:29.920 - 00:03:34.480

So how did the High Score end up becoming Mick Harrison in the High Score?

Speaker D

00:03:34.640 - 00:04:53.180

Well, me and Mick were in a band called the Faults, and as most bands do, they just kind of petered out. He joined Super Drag, and when he did that, I started my band called the High Score.

So we started playing around Knoxville and, you know, put out an album and whatnot. And then Mick started working on his solo CD called Paul Bearer Stew.

I remember hanging around the studio with him and Don Coffey Jr. And just watching them record, and I really liked the song. And I think at that point, Super Drag was about to call it quits.

So Mick was talking about, you know, touring, and I said, hey, man, you know, if you need a band to back you up on this tour for your album, the High Score would be all about it. And that's just kind of how it happened.

And we started going out and playing as his backing band for Paul Bear Shoes while still doing our own thing, which we tore some, but not as much as Mick, you know, we still put out albums when we can, being his backing band. And I guess after a few years, it just kind of gelled out. We're kind of a band, you know, it started as, you know, hey, we'll help you out.

And then it's just like now we have such a good time writing songs together. It's kind of become a unit. It's been great.

Speaker B

00:04:53.420 - 00:04:55.660

Tell me about this 7 inch that y' all put out.

Speaker A

00:04:55.660 - 00:04:56.460

Back in November.

Speaker D

00:04:56.700 - 00:06:48.560

There's a benefit in Knoxville called Wayne Stock, and it's a buddy of ours that writes for the Knoxville News Sentinel named Wayne Bledsoe.

His younger son had passed away suddenly, you know, it was just terrible for everybody in town, so everybody wanted to do something to get back to Wayne. It just became like every year becoming like a charity event for something here in Knoxville.

Every year, you know, the money goes towards something to help somebody here in Knoxville. So we got paired up. I guess it's kind of funny sounding, but it's not a local legend.

Country music star Con Hunley, just unbelievable artist that came out of Knoxville, who just never became the George Jones top household name, but is three times the Doris Jones. So just an incredible artist. We were asked if we wanted to do a show with him, Wayne Stock.

And we just had just an unbelievable time getting to know Khan and learning his songs through just talking to him. Me and Mick came up with a couple of songs that were kind of influenced by Con Hunley. And we thought, well, we should.

You know, it's our 10 year anniversary. We kind of have a bunch of songs in the works, but we don't have enough to put something out.

Maybe we could just put out, like this little tip of the hat to Colin Hundley and just this great experience that we just had doing this show.

So we put out the seven inch of two songs that was influenced by that whole experience and actually had Colin Hundley come in and sing on one of the songs, anytime you're ready, which was just a huge deal for us and just a special kind of experience. So that was pretty cool. Wayne Bledsoe is the one that was like, you know, you guys should do do a set with Colin Hundley. We're like, really?

You think so?

Speaker C

00:06:48.560 - 00:06:49.440

Would you do it?

Speaker D

00:06:49.440 - 00:06:52.480

Yeah, I think Khan would do it. And I'm like, I don't think he would do it.

Speaker C

00:06:52.480 - 00:06:53.760

No, I don't really know.

Speaker D

00:06:54.290 - 00:07:59.950

He called him up and he's like, those guys want to play my songs. It was kind of like we were all like, could this work? And we got together and we only practiced one time with Khan. Now Nick and I score.

We practiced a whole bunch because I wanted to come off just like I wanted it to be great, you know. This guy had, like, the best session players in the world playing his music.

So for us, trying to learn the licks, you know, we had to, like, actually do our homework, you know. He came in our little dingy practice room that has, like, huge poster of Iggy Pop and Motley Crue and the Rolling Stones and the Beatles.

He comes in and the guy just starts singing. And I'm like, oh, my God. This is. I was like, this made playing guitar for 15 years worthwhile. I mean, this is incredible. This is.

It was just a special kind of deal to get to play with a guy like that.

And I think it made all of us better because the new album we're working on after that, just giving us some momentum to really, you know, branch out and do some different stuff as far as chord structures and stuff like that.

Speaker B

00:08:00.270 - 00:08:08.590

I know that y' all have some ideas in the works that are probably going to become a record in the next year or so. How is that developing for you all?

Speaker D

00:08:09.150 - 00:09:02.900

I would say we have. We basically have an album where it's songs. Right now we're just hammering them out in the practice room.

February, as far as weather here in Knoxville was really terrible, so we couldn't get together as often as we would have liked to. But right now we have shows coming up, so it's hard to practice new stuff. But we have an album's worth of songs and we're ready to go hit it.

Hopefully end of April, that's probably not going to happen. Yeah, mid summer. I mean, everything got kind of got wacky with the weather here. But no, I mean, we. We have the songs.

Me and Nick, we get together Saturdays and work on new stuff. And then, as you know, during the week, we get together with the guys and start jamming on the ideas. But it's is really coming together pretty quick.

It's been real natural as far as having to actually work on the songs. They just. They're just kind of falling into place.

Speaker C

00:09:03.060 - 00:09:09.540

Hey, this is Mick Harrison from Mick Harrison High Sport. To check out our new record with Con Hunley, you can go to mcharrison.com.

Speaker A

00:09:09.700 - 00:09:24.420

Hey, y'. All, this is Sloan Spencer, the host of Country Fried Rock.

We've had an incredible year with more people finding us on the radio and our podcast than we ever imagined. Thank you all so much. Careful what you wish for, you just might get it.

Speaker C

00:09:24.950 - 00:09:32.630

Hey, this is Mick Harrison from Nick Harrison High Score. If you'd like to know any more about what we're doing touring wise and what's going on, go to Mick Harrison dot com.

Speaker B

00:09:32.710 - 00:09:37.990

What's working for y'? All? As the band has been together long enough that things have kind of evolved over the years.

Speaker D

00:09:38.550 - 00:11:07.460

You don't want to out think yourself, but you want to, like, do something different. You don't want to write the same album. We always go into every album and we always have a talk.

Like we're really far out as far as our ideas, but as soon as we start playing every, I mean, you kind of know what you want to do. We're all on the same page as far as sound or sound. You know, I mean, it's evolved finally into something that's our own.

You know, it might have started with a love of a certain artist or a certain sound, but I mean, we kind of are doing our own thing now. You kind of want to push, push it forward, but you don't want to get too silly with it either.

It's really easy to go in the studio and start adding a bunch of instruments or adding a bunch of parts. That might sound cool far as an album, but when you go to play it live, it doesn't translate.

You want to, like stay true to doing something new, but actually being able to pull it off as a real band, not, you know, some kind of pro tool band. You know, we're not going to have a...

Summary

In this episode from 2015, we sit down with The Bones of J R Jones for a wide-ranging and honest conversation about his musical path and the making of his album Dark Was the Yearling. He shares how what seemed like a small, low-key performance ended up leading to a major connection, one that helped launch his debut record.

We talk about the deep influence of early blues on his sound, especially the raw, emotional energy of the genre’s pioneers. J R opens up about the challenges and rewards of the recording process, and how collaboration helped him shape and sharpen his sound.

Throughout the episode, you’ll get a real sense of the passion and persistence that fuel his work, and what it takes to stay true to your voice as an artist.

What We Wrote in 2015

The Bones of JR Jones is mostly a one-man band, although JR sometimes plays with a variety of setups. His recent album, Dark Was The Yearling, was made possible by a happen-chance meeting at an empty gig. The Bones of JR Jones is getting ready to tour the South and MidWest through the spring, so catch a show when he’s in your town.

Show Notes

• In this episode, Sloane Spencer talks with The Bones of J.R. Jones about his musical journey, one shaped by a deep connection to blues, introspective moments, and a few unexpected collaborations along the way.
• J.R. shares how his love for blues started early and really came to life during a key period living in the Catskills, where he began turning that passion into something tangible.
• He reflects on the powerful influence of early blues legends, artists whose raw emotion and grit helped shape his sound and approach.
• One standout moment: J.R. tells the story of a small, seemingly insignificant gig that led to a major break, a reminder that you never know which moment will open the next door.
• The conversation also touches on the importance of community and support systems, how fellow artists, friends, and even strangers have helped him keep going.
• J.R. dives into the making of his album Dark Was the Yearling, giving us a behind-the-scenes look at the creative process and what it was like working with producer Charles Newman.
• He talks about the challenges of the recording process: tight timelines, careful planning, and the push to stay true to his artistic vision.
• By the end of the episode, what really stands out is J.R.’s dedication, not just to the final product, but to the whole journey of making music and growing as an artist.

Links

• Bones of J.R. Jones
• Bones of J.R. Jones on Bandcamp
• You may also like our conversation with M. Lockwood Porter
• After you buy music or see a show, we would appreciate your support with a few dollars in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Takeaways

• J.R. Jones’s musical journey shows how artistic growth can happen naturally, shaped by life, passion, and a love for blues.
• He shares the story of a lucky break, a random gig that ended up connecting him with the right people to make his first album. It’s a great reminder of how unpredictable and relational the creative world can be.
• Making Dark Was the Yearling wasn’t simple. It took a lot of planning, and the collaboration with producer Charles Newman added depth and direction to the process.
• J.R. stays true to his sound on stage with his one-man band setup. It’s a stripped-down, personal way of performing that gives him full creative control and really connects with audiences.
• He’s also big on keeping things personal with fans: selling physical copies of his music on Bandcamp, for example, shows his commitment to direct artist-to-audience relationships in a digital world.
• His upcoming tour isn’t just about promoting his work, it’s also a chance to test out new material, connect with audiences, and let the live experience shape the music as it evolves.

Mentioned in this Episode

• Bones of J R Jones
• Platform Music
• The Bunker
• Got a Groove Records
• Bandcamp
• Goodnight Texas
• Melina Cadiz
• Drivin n Cryin

Recommended If You Like

Country Fried Rock, Bones of J R Jones, Dark Was the Yearling, blues-inspired music, solo artist podcast, music discovery, American roots music, Catskills music scene, one-man band, indie music podcast, songwriting journey, music production process, Bandcamp artist, vinyl pressing, live recording techniques, music collaborations, blues music history, touring as a solo artist, small venue performances, artist interviews

Transcript

Speaker A

00:00:00.240 - 00:00:33.190

Welcome to Country Fried Rock. I'm your host, Sloane Spencer. This week I'm talking with the Bones of J R Jones, a moniker for a sometimes solo artist, sometimes band.

With a great blues inspired record called Dark Was the Yearling, you'll have to hear how J R hooked up with somebody who helped make his first record possible. It's a great story from what could have been a terrible gig today on Country Fried Rock. It's the Bones of J R Jones.

It's you like eavesdropping on these musician conversations. Tell a friend we appreciate you.

Speaker B

00:00:33.430 - 00:00:39.110

My guest today is the Bones of Junior Jones. We all refer to as Junior. Welcome.

Speaker C

00:00:39.270 - 00:00:40.710

Thank you so much for having me, Sloan.

Speaker B

00:00:40.870 - 00:00:55.840

So this is one of those records that I ran across kind of through friends of friends and then it was like I just didn't follow up. So my fault. But let's go back to the beginning because I don't know a whole lot about how you got into where you are now.

How did bones of J.R. jones develop?

Speaker C

00:00:56.240 - 00:01:13.520

It kind of happened organically, I guess is the best way to describe it. I've been playing music all my life, got turned onto the blues pretty heavily, probably about 15 years ago now.

But I guess I didn't really pursue it until I was living up in a Catskill kind of by myself and had some free time on my hands. Kind of developed this project that I'm working on now, the ones of J.R. jones.

Speaker B

00:01:13.520 - 00:01:15.040

What kind of blues spoke to you?

Speaker C

00:01:15.440 - 00:01:40.700

Definitely like old time, like Ruth blues, I guess, much as I love modern stuff or contemporary blues, you know, I was given a four disc set called American Roots Music and was Lion Lemon Jefferson Delta Blues, you know, slightly out of tune, off tempo type blues. And what spoke to me that echoed with me for some reason, you know. And I think part of it was just these guys who had very little training.

But the passion is what carried the music for me. Kind of changed my life.

Speaker B

00:01:40.700 - 00:01:48.300

I guess that is a similar way to which I discovered a lot of music. Box sets, compilations. Oh yeah, greatest hits records even.

Speaker C

00:01:48.540 - 00:01:56.200

I wish I could say that I was some sort of audiophile, you know, or something like that. I know what I love and the compilations are good for me to reach out and see what else is out.

Speaker B

00:01:56.200 - 00:02:05.840

There, you know, underappreciated method of music discovery for sure. Cool. So you've kind of been rooting around in this for a while. What ultimately led you up to recording?

Speaker C

00:02:06.560 - 00:02:53.420

A happy coincidence, I guess.

Living up in the Catskills for a while, moved back down to New York City after finishing some schooling up there and would do these or at least once in a month, or once every two months. And by chance I got a show back up in the Catskills on one random Wednesday night.

And I almost didn't go just because, you know, it was rainy, I think it was the middle of March, kind of very similar to today. I didn't want to drive all that there.

But anyways, I ended up doing it, visiting myself to get on the road and get up there and play this little show. And one of those stories where you say you should never turn down a show, no matter how small the room, I guess.

And I played for a room of maybe five people and one of them took me aside after the show and was very kind enough to say, you know, he's like, I have a little money and I'd like to put out your first album for you. So totally unexpected.

And then, you know, within a year my first EP was out thanks to this amazingly generous gentleman, motivated me and gathered momentum for the next one, I guess.

Speaker B

00:02:53.640 - 00:02:57.560

That's fantastic. How great to like unexpectedly find a benefactor like that.

Speaker C

00:02:57.640 - 00:03:04.440

Oh, it was, I mean, it's. It's not heavy handed to say it was life changing, I guess, you know, so it was something unexpected.

Speaker A

00:03:04.520 - 00:03:19.240

Hey, y', all, this is Sloan Spencer, the host of Country Fried Rock. We've had an incredible year with more people finding us on the radio and our podcast than we ever imagined. Thank you all so much.

Careful what you wish for, you just might get it.

Speaker C

00:03:19.640 - 00:03:22.200

Hey, this is the bells of J.R. jones on Country Fried Rock.

Speaker B

00:03:22.200 - 00:03:25.480

You put out the EP and then what continued to develop for you?

Speaker C

00:03:25.560 - 00:03:50.890

Just kind of a one man operation, so to speak. So I didn't really know what to do with it. Tried to play as many shows as I could and garner some press.

Like one thing led to another, the next step would have been that I hooked up with a small licensing agency called Popcorn Music that put a little more gas in my tape, so to speak. They've been amazing, put me in touch with a lot of producers and motivated me to record as much as possible.

So it's just growing slowly as that, but they've been definitely a catalyst for the next stage for the full length. Absolutely.

Speaker B

00:03:50.890 - 00:03:54.250

Cool. So is that how you ended up having a song in the TV show?

Speaker C

00:03:55.050 - 00:04:15.210

Yes. Yeah, yeah. I've been very fortunate. They've done good by me. I've been working with them for almost two years now.

You know, I've had a couple of placements in TV shows and commercials and did a Theme song for Nat Geo and it's nice to know that I can kind of make a living doing this. I guess just going out and meeting people and trusting people that know the business, I guess is the best way to say it.

Letting them help them guide you.

Speaker B

00:04:15.210 - 00:04:25.970

I guess you've had these interesting and wonderfully supportive things going on in the background. What were the details of getting the songs ready? That became dark was the yearling.

Speaker C

00:04:26.370 - 00:05:19.170

It was definitely a slow process and I was trying to do it. The first EP was just me gathering the seven strongest songs I had at the time and just trying to lay them down as quickly as possible.

This one I was working with producer Charles Newman and kind of just a one man operation. I didn't have much money so we were trying to like basically do a lot of pre production stuff which took two months or so.

And we basically only reserved a studio for two days. Got into the studio.

We basically premiere six songs for two to three months and then go into the studio for about 10 hours and record those six months live as best we could and then do the next six songs for the next three months and go into the studio for another 10 hours. It was nice to have an extra hand to help me, guide me through the process because it was the first time I ever really had to do anything like that.

I really, really edit out the weaker songs, the weaker links. I guess I feel like, you know, full lengths and this is my personal taste. I always showed brevity is very strong.

I've been feeling things that are long winded. I'd love to have a 10. So that's just 10 songs with great stuff as opposed to like 15 songs of just okay material.

Speaker B

00:05:19.410 - 00:05:21.650

So how did you and Charles Newman connect again?

Speaker C

00:05:21.650 - 00:05:57.790

You know, it was a licensing company. Platform Music is up together. They've worked with him through the years and we both happen to live on the east coast in New York.

Met up and kind of just hit it off. And he's a very chill guy in terms of music sensibilities. I think we come from different backgrounds completely.

You know, he doesn't really have much experience in the blues, at least the genre as far as I see it. I guess it was really kind of nice to bounce some ideas off a sounding board with a different. That has a different perspective across the board.

Definitely challenged me in ways and push the album in a direction that I probably wouldn't have taken it by myself. But I'm definitely happy with the outcome. I think a collaboration for sure is like. It's a give and take. And it's a compromise.

Hope the best thing kind of boils to the surface after digging on it hard enough.

Speaker B

00:05:57.870 - 00:05:59.550

So what studio did you all go to?

Speaker C

00:05:59.790 - 00:06:23.340

Well, we went to one here in Brooklyn called the Bunker. They have two or three rooms in their little space in East Williamsburg here, and we were only in there two days total.

But it was this huge, gorgeous room and, you know, vaulted ceilings, stuff like that. Something as opposed to my first album where I was basically recorded in my. In an apartment somewhere.

You know, this was definitely more intimidating for me to feel like I had to get it right this time or it wasn't going to happen again.

Speaker A

00:06:23.340 - 00:06:44.460

Hey, y', all, this is Sloan Spencer, the host of Country Fried Rock. Those of y' all who listen on our podcasts, it's a quick hit of just the conversation.

If you want the full radio program with all the songs that we talk about, ask for it on your local radio station, joining 20 other stations across the country. Get the goods@country friedrock.org hey, this is.

Speaker C

00:06:44.460 - 00:06:50.780

The Bones JR Jones on Country Fried Rock. You can find my music and all my happenings on the bones ofJ R journals dot com.

Speaker B

00:06:51.260 - 00:07:00.300

You all basically went in at two chunks of time and got everything laid down live. Then what happened with the songs? Like, did you add layers and how did that happen?

Speaker C

00:07:00.380 - 00:07:35.560

Yeah, we definitely did. We did as much pre production before going to the studio as possible. So, like, just like mapping out, arrangement structure going in.

And then I hired kind of a set musician, a bass player named Matt, and he came in and laid down the bass lines for me. And then we. My live show is basically kick drum, a hi hat, and me with a guitar or banjo. And so we tried to do as much as that as possible.

Straight to tape, I guess, having that energy as opposed to like multi tracking, laying things, like, you know, you lose a little bit of that ambiance. We basically did almost everything live and then definitely like, you know, we went back in and added some accents to it.

You know, maybe a violin here or there, you know, some drums.

Speaker A

00:07:35.800 - 00:07:36.760

Who mixed it for you?

Speaker C

00:07:37.010 - 00:08:03.170

Charleston's been mixing, I guess we mastered it with a guy named Donna Virginia. Tone Masters. There's a learning curve to it, and I'm still, still learning for sure. You know, I've never been technically gifted.

You contact these vinyl companies and you get quotes and stuff like that, but there's a whole level of files that you need to get over there. And, you know, they need to create the hardware to press the vinyl and stuff like that.

But it's a lot of fun, you know, to order a vinyl and then like, you know, a month in you'll get. You'll get the test pressing and you get to listen to like six different versions of it. That's where the masters from there. It's a lot of fun.

Speaker A

00:08:03.400 - 00:08:05.240

Where did you end up having that vinyl pressed?

Speaker C

00:08:05.240 - 00:08:19.960

This last one, I used a company out in Cleveland called, Got a group records. They were great. They do a lot of very responsive.

And I placed my order and like within 10 minutes I got an email and a phone call from the guy just, you know, walking me through it, make sure everything was correct. It was a good experience, for sure.

Speaker B

00:08:20.120 - 00:08:32.450

I'm of that era where I still like physical product related to music, and vinyl has been a great way to have that happen. What did you do in order to work on both the artwork and the rest of the physical experience with the vinyl?

Speaker C

00:08:32.610 - 00:09:20.450

I did all the artwork for it. My background's in printmaking and fine arts and stuff like that. So I try to do as much of that as I can. I really enjoy that, I guess.

And so with that in mind, I guess it's like going into a candy store when you see what the possibilities are in terms of pressing, you know, in terms of like embossing them or getting like gold inlay or if you're a fan of Jack White, the stuff that he does with his records, you know, it's such an experience just to buy one of those things. But unfortunately my budget, my overhead is I can't afford something like that.

So I try to make it as personal as possible, you know, like this last one I did with a small pressing and in the sleeve, I made sure that everybody knew that it was kind of this one off special thing. And what they were getting is one of 300. Only because of the way like mass marketing is these days. You know, you want to.

You want to try to contact somebody or touch somebody in an individual and not just have them feel that they're just one of many. Trying to do that on a budget is tricky. But yeah, you do what you can, I guess.

Speaker A

00:09:20.450 - 00:09:38.390

I'm your host, Sloane Spencer. You can keep in touch with us on Facebook.

But I really like Twitter, where we are at Country Fried Rock ending with R O K. And if you want to see pictures of my shoes, my dog and my lunch, stop by Instagram. But whatever way you like to hang out, stop by and say, hey.

Speaker C

00:09:38.390 - 00:09:43.350

Hey. This is the Bones JR Jones on Country Fried...

Summary

In this episode from 2015, we sit down with M. Lockwood Porter to talk about his new album 27, which is set to release in the UK and Europe this coming spring. We get into the nuts and bolts of songwriting, and what it’s like juggling life as both a solo folk artist and a band member.

Porter shares stories from his journey, starting out in Oklahoma and later finding his voice in the Bay Area music scene. We also talk about the themes behind 27, especially the ups and downs of building a music career while navigating your late twenties.

He opens up about the creative collaborations that helped shape the album, and what it’s like to take those songs from the studio to the stage. It’s a thoughtful look at growth, change, and staying true to your voice as an artist.

What We Wrote in 2015

Max Porter performs as M. Lockwood Porter, in homage to his grandfather and to make it easier to find him on the Internet. Partly based on a childhood dream to leave Oklahoma and live in California, and partly pulled by his network of friends and musical colleagues, Porter claims both areas as home. His recent album, 27, honors Chris Bell of Big Star, and will be released in the UK and Europe late Spring 2015.

Show Notes

• Host Sloane Spencer welcomes singer-songwriter M. Lockwood Porter to chat about his latest album, 27, which is set for release in the UK and Europe this spring.
• Porter shares his journey from growing up in Oklahoma to finding his musical footing in the Bay Area, where he’s become part of a rich, supportive creative community.
• We explore how his musical style has evolved, from punk and hardcore roots to a more reflective, folk-inspired sound that still carries a raw edge.
• A big focus of 27 is the experience of being in your late twenties, the uncertainty, growth, and emotional weight that comes with that stage of life.
• Porter talks about how his songs shift from studio versions to live performances, often reworking full-band tracks into solo sets while keeping their emotional impact intact.
• He opens up about the meaning behind his professional name, which honors his grandfather, Marcus Lockwood Porter, a touching nod to his family and its influence on his art.
• The conversation also dives into what it’s like to be an independent artist today, including the importance of maintaining a strong online presence and carving out a recognizable identity.
• As the episode wraps up, Porter reflects on the upcoming European release of 27, sharing both excitement and gratitude for the growing support he’s received from fans back home and abroad.

This episode is a thoughtful look at artistic growth, the personal stories that fuel creativity, and the balancing act of making meaningful music in a fast-paced world.

Links

• M. Lockwood Porter
• M. Lockwood Porter on Bandcamp
• Black Mesa Records
• You may also like our conversation with Andy Gabbard
• After you buy music or see a show, we would love your support with a few dollars in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Takeaways

• We dive into M. Lockwood Porter’s musical journey: from his early days in Oklahoma to finding his creative stride in California.
• He gives us a behind-the-scenes look at the making of his new album, 27, and what inspired the songs.
• Porter shares the story behind his name, how adopting “M. Lockwood Porter” is a personal tribute to his grandfather.
• He talks about how life in California, and the music scene there, has shaped his sound and sparked new collaborations.
• We explore what it’s been like for him to shift from full-band performances to more stripped-down, solo acoustic sets.

Throughout the conversation, Porter opens up about the themes that run through his music, especially the reflections and realities of life in your late twenties.

Mentioned in this Episode

• M. Lockwood Porter
• John Calvin Abney
• Hidden Trail Records
• Black Mesa Records
• Big Star
• Wilco
• Crosby, Stills, Nash and Young
• Grateful Dead
• Drivin n Cryin

Recommended If You Like

Country Fried Rock, M. Lockwood Porter, 27 album, Oklahoma musician, Bay Area music scene, indie rock podcast, solo folk troubadour, touring with a band, singer-songwriter interviews, rock music storytelling, music career challenges, mental health in music, songwriting process, live performance adaptations, Hidden Trail Records, Black Mesa Records, music industry insights, acoustic rock transformations, contemporary folk music, West Coast music tours

Summary

In this episode from 2015, we’re diving into Andy Gabbard’s debut solo album, Fluff , a big step away from the sound you might know from his work with Buffalo Killers. We talk about how Andy’s grown as an artist, and what it’s been like for him to write and record music while also being a stay-at-home dad. What makes Fluff especially unique is that Andy played and recorded everything himself, which is a big shift from the more collaborative vibe of his band days. We also get into the inspirations behind the music and what really drives his creativity. It’s a personal, behind-the-scenes look at his process and what this new project means to him.

What We Wrote in 2015

Andy Gabbard‘s debut solo album, Fluff, definitely is not. This trippy-tinged collection of tunes brings fuzzy pop sense to Gabbard’s writings that do not fit the Buffalo Killers’ vibe. Fluff is not “trouble in paradise,” rather, it is an expansion of his creativity, like a second leg of vacation.

Show Notes

In this episode, we sit down with Andy Gabbard, a key figure in the Ohio music scene and longtime member of Buffalo Killers, to talk about his debut solo album, Fluff. Here’s what we get into:

• Going solo: Andy walks us through the journey of making Fluff, a project that marks a clear break from the collaborative style of Buffalo Killers. This time around, it’s all him, every instrument, every track.
• Life as a stay-at-home dad: Andy shares how being home with his kids has reshaped the way he approaches music. It’s changed his perspective, giving him space to write and record in a more personal and reflective way.
• Rediscovering creativity: He opens up about how this new chapter in life helped him tap into songs and ideas he might’ve ignored in the past, and how he's now more committed than ever to putting that creativity out into the world.
• Learning as he goes: From picking up the drums to handling every part of the recording process, Andy talks about the highs and lows of doing it all himself, and the satisfaction that comes with fully realizing his own vision.
• Balancing music and family: We explore how Andy’s dual roles as a musician and a father influence one another, and how he's found meaning and inspiration in that balance.
• Staying authentic: At the heart of it all, Andy’s focus is on staying true to himself as an artist and keeping the music flowing, no matter what life throws his way.

The episode offers a thoughtful look into Andy Gabbard’s world: one where creativity and family life aren’t in conflict, but fuel each other in surprising ways.

Chapters

• 00:07 - Exploring Andy Gabbard's Solo Work
• 04:24 - The Journey to Solo Recording
• 07:57 - Exploring Musical Influences
• 12:41 - The Journey of Creating 'Fluff'
• 14:24 - The Journey of Creating Music

Links

• Andy Gabbard
• Buffalo Killers on Bandcamp
• You may also like our conversation with Lee Gallagher
• After you buy music or see a show, we would love your support with a couple bucks in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Takeaways

• We talk about Andy Gabbard’s shift from being part of a band to stepping out on his own as a solo artist, and what that transition has meant for him creatively.
• His solo debut, Fluff, marks a big leap in how he writes and expresses himself musically. It’s a clear evolution from his earlier work.
• Andy breaks down the process of making Fluff, including how he recorded everything himself. It’s a fully DIY project that really captures his personal vision.
• He shares how being a stay-at-home dad has actually opened up more time and space for music, and how that change in lifestyle brought a fresh perspective to his songwriting.
• We also touch on how supportive his Buffalo Killers bandmates have been, giving him room to explore his solo work without any tension or creative conflict.
• If you’re familiar with Buffalo Killers, you’ll notice Fluff has a totally different sound, It’s Andy finding his own voice and doing things his own way.

Mentioned in this Episode

• Buffalo Killers
• Natural Sound Records
• Goodbye
• Esther Caulfield Orchestra
• Amplified Heat
• Superdrag
• Nirvana
• The Kinks
• The Velvet Underground
• Doug Sahm
• Neil Young
• Drivin n Cryin

Recommended If You Like

country fried rock, Andy Gabbard, Buffalo Killers, solo record, Fluff album, Ohio music scene, indie rock, stay-at-home dad musician, songwriting process, home recording, psychedelic music, music interviews, independent artists, guitar music, live music performance, music production, vinyl records, music creativity, melodic songwriting, alternative music

Transcript

Speaker A

00:00:00.240 - 00:00:28.950

Welcome to Country Fried Rock. I'm your host, Sloan Spencer. This week I'm talking with Andy Gabbard, more known for his Ohio based band, Buffalo Killers.

But Gabbard's debut solo record, Fluff, shows a different side of his songwriting. Gabbard is a stay home dad when not on tour, letting him, as he says, live the dream.

Whether you're familiar with the Buffalo Killers music or not, Andy Gabbard's solo record is a whole nother sound. It's not Fluff. And we'll talk about it today on on Country Fried Rock.

Speaker B

00:00:29.190 - 00:00:38.150

My guest today on Country Fried Rock is Andy Gabbard, one of the main songwriters from Buffalo Killers, and he's got a new solo record out called Fluff. Welcome.

Speaker C

00:00:38.870 - 00:00:39.910

Thanks for having me.

Speaker B

00:00:40.630 - 00:00:50.710

I've been a fan of Buffalo Killers for the last couple of records, I guess when I first came to know you all. But you're really known as a live band. What does a solo record do for you?

Speaker C

00:00:51.350 - 00:01:17.850

Basically, in the last couple years, since my wife and I have had kids, I've become a stay at home dad and I no longer work at the record store I worked at for a few years. And I just have more time to create music and I always have recorded music on my own.

It's just now I kind of have more time and I'm able to put more attention into it when we're not riding the Buffalo Killers train.

Speaker B

00:01:18.410 - 00:01:23.210

Well, that's cool. That's kind of a neat story of a way to look at how your time is used.

Speaker C

00:01:24.730 - 00:01:52.150

Yeah, for me, it's just a way of not letting anything go to waste. I'm trying to have a formula of the way we do things with Buffalo Killers.

And, you know, sometimes I write one off songs and they accumulate and when you keep on writing, things go to waste and they pile up. And so I'm gonna start releasing those songs, you know, whenever I can and just continue to make music.

Speaker B

00:01:52.390 - 00:01:54.630

Was there anything different in taking these.

Speaker A

00:01:54.630 - 00:01:56.310

Songs to record for a record?

Speaker C

00:01:57.270 - 00:02:03.750

Yeah, it was a completely different experience than I've ever done because I recorded all the instruments myself.

Speaker B

00:02:03.830 - 00:02:04.550

Oh, cool.

Speaker C

00:02:04.710 - 00:02:50.890

So I kind of in the process of writing these songs, halfway through, I bought a drum set. So when I first demoed the song, the only practice I had on the drums was on my legs.

So I kind of had to like think about where the drums are when I'm going through the song in my head and then, you know, translate that to the drums.

So then once I demoed them and I was able to listen to them Then I just called my friend David, who has a studio in his basement and we just set a day aside and I just went in and recorded all the drum tracks real quick and then did all the guitar. And I thought through everything a lot. When it came time to actually record, I had everything ready. We just had a couple beers and knocked them out.

Speaker B

00:02:51.610 - 00:02:55.290

So he just has a home studio for fun or is this something semi professional for him?

Speaker C

00:02:55.530 - 00:03:11.910

He can do everything cool, build you a house.

He just is such a smart guy and from what I understand, he's just always recorded his own dance and his friends and he just, he really knows what he's doing. I don't know anything about that stuff.

Speaker B

00:03:13.030 - 00:03:17.670

Well, so that's a very different process then than how you all work when you're recording as Buffalo Killers.

Speaker C

00:03:18.070 - 00:04:43.540

Yeah, it's a lot different with Buffalo Killers. You know, we have the song idea and we get together and we just start playing and it just falls together, becomes what it is.

We just all know each other and have played together so long. It's super easy and laid back. We always have more fun than we work hard. It always works out.

Where I was at when I wrote the album was kind of a renaissance of me going back to what I did when I was a kid.

When I was in like 6th grade, my parents got me a four track and my brother is a little older than me and he already had bands that were practicing at my parents house. So there was always drums there and bass to guitar.

So the initial idea of the album before I ever knew it was going to be released by anyone, was just to do that again because I hadn't done it in a long time where I just, you know, recorded some stuff and I never overthink things. Once I get through the song, you know, I keep that day. But that's kind of the vibe.

Where I was for this album was, you know, this is my first solo album. Then I'm going to start at the beginning of everything, which is simple.

Drum, bass, guitars, and the melody carries everything as opposed to if it was Buffalo Killers. A little more thought goes into it and more minds go into it.

Speaker A

00:04:43.540 - 00:05:02.150

I'm your host, Sloan Spencer. You can keep in touch with us on Facebook.

But I really like Twitter where we are at Country Fried rock ending with R O K. And if you want to see pictures of my shoes, my dog and my lunch, stop by Instagram. But whatever way you like to hang out, stop by and say, hey, hey.

Speaker C

00:05:02.150 - 00:05:05.430

This is Andy Gabbard and this is Country Fried Rock.

Speaker B

00:05:05.590 - 00:05:08.790

You're also going to be taking some of these songs on the road, though, right?

Speaker C

00:05:08.950 - 00:05:31.100

Yeah. I'm currently booking as many shows as I can with my solo group.

And at the same time, Buffalo Killers are going to continue to play and we're going to learn a few of the songs off of the album to help promote it. One thing that's about it is the.

That sometimes, depending on who you are and how you read it, it sounds like Trouble in Paradise, you know, Black Crow.

Speaker B

00:05:31.980 - 00:05:32.380

Right.

Speaker C

00:05:32.380 - 00:05:33.580

But we're not like that.

Speaker B

00:05:34.860 - 00:05:36.380

Even if Chris does love your band.

Speaker C

00:05:36.460 - 00:06:28.950

I wouldn't even have an album coming out, period, if Zach and Joey and Finn weren't so supportive. They make me feel very confident about being a songwriter and getting done. Anybody in the Buffalo Killers could totally make a solo album.

Our drummer, Joey, super talented guy, he can play every instrument. Ben can do it, Zach can do it. But, yeah, they've been really supportive.

And, you know, when you're doing something yourself and you do it all by yourself, it doesn't get in the way of anything because, you know, I do it on my own time. We're continuously keeping our ball going.

I feel like if you're an artist and you create something, you're a writer, then playing a trick on yourself, if you don't try, somehow get it published in some way to where it can be something. Never know, you know, gotta take the opportunity.

Speaker B

00:06:29.750 - 00:06:32.390

At what point did you and your brother end up in the same band?

Speaker C

00:06:32.870 - 00:07:57.310

Well, it wasn't until I was out of high school. Zach always had band. He always had his thing going. And, you know, one side got into middle school or whatever. I started messing around.

And then I think it was more of us coming to a cross where we started liking music. You know, when I was in high school and stuff, I was super punk rock guy. Like, you know, he didn't want to hear what I was into.

I mean, I don't want to hear what I was into at the time, but I think that's what it was. I got older and, you know, he had a place in Cincinnati and him and his wife would have me come down and hang out.

And, you know, he started turning me on to all these great records and stuff, like the Kinks and stuff like that. And we just started just getting into it together. And then someone clipped the sham and then it was just like, right.

You know, Zach was like, all right, well, we got you, so we don't have to live up. When I was 17 or 18 or something, that got me a record player.

And it Was like around that time was when they started putting out all those Kinks reissue records. That's all I cared about. And he was into it.

It was just all about Kinks and Pet Sounds and all the really good stuff that somehow I didn't delve into until after high school.

Speaker B

00:07:57.630 - 00:08:05.420

As you have developed your own distinct sound, apart from just what the band does, what sort of things speak to you musically?

Speaker C

00:08:06.140 - 00:09:07.720

Man, everything. The last couple years, year and a half or so, just kind of being on a renaissance of things I used to be really into.

You know, sometimes I go back to a band or something that I hadn't listened to in a long time. When I started making the album stuff, I was just listening to Nirvana all day long and listening to Super Dragons.

Super Drag was like, my favorite band of all time. I mean, deep down inside, they are my favorite band of all time. Them and Nirvana and everything.

I was getting really into simplistic things like the Velvet Underground and Doug Somme. I'm a big fan of AllMusic. I love it when someone can get really wild and do something crazy and something I could never do myself.

But I feel like my niche that I can do is that I can write a simple song. So I really appreciate the simple song and melodies and stuff like that.

Speaker A

00:09:08.360 - 00:09:08.880

Hey, y'.

Speaker C

00:09:08.880 - 00:09:08.960

All.

Speaker A

00:09:08.960 - 00:09:23.160

This is Sloan Spencer, the host of Country Fried Rock. We've had an incredible year with more people finding us on the radio and our podcast than we ever imagined. Thank you all so much.

Careful what you wish for. You just might get it.

Speaker C

00:09:23.470 - 00:09:34.590

Hey, this is Andy Gabbard. Look me up on Facebook and Twitter and Instagram, or look me up on Buffalo Killers websites and social media sites.

Speaker B

00:09:34.990 - 00:09:37.790

But the solo record has kind of a trippy vibe with it.

Speaker C

00:09:38.190 - 00:10:25.410

Yeah, anything I do has, like, a slight tinge of psychedelic to it, just because that's just what I know how to do. That's what I like. I'm lucky. I get to play with my kids every day. And so when it comes time to hit the road, seems like it's been a while.

Whenever we go, I try not to overthink things and plans and stuff. I just try and go with the flow. This was my dream, you know?

I've done a lot of things I've always wanted to do with Buffalo Killers, but something else I've always wanted to do was try and put a record out myself. So whether anyone buys it or not, I still feel like I accomplished something. I think that the record is good.

I think the songs are good, and I think if I can just get People to listen to it, that I think it has a little something for everybody.

Speaker B

00:10:25.650 - 00:10:27.490

So where did the title fluff come from?

Speaker C

00:10:28.050 - 00:10:48.420

It just came from that song.

Sometimes when I write a song, a lot of times, instead of sitting and trying to write a cool, cool word to the song, sometimes I'll just stick with what I said originally. And just for some reason, that first line feels like fluff. I just said that, and then I was like, ah, that sounds cool.

Speaker B

00:10:50.260 - 00:10:52.420

Did you work with anyone in particular for the art?

Speaker C

00:10:52.980 - 00:11:19.910

No, actually, I took the picture and it was like a selfie, and I put it on Instagram and I said. And I wrote hashtag, go f yourselfie. And then my friend Taniwa, who I worked with at the record store for a long time with, she.

I had something else I was working on for the album cover. And she said, is this your album cover? And I said, good idea. So I just rolled with that and. And a lot of really liked it, so we just kept it.

Speaker B

00:11:21.030 - 00:11:23.670

Did you know that the label was going to support your solo record?

Speaker C

00:11:24.310 - 00:11:43.030

No. I had a few demos up online, and I've always been in touch with them a lot. And Patrick heard it, and he said, that sounds good, man.

Record some more songs and you've got a record. So in my head, I was like, okay, well, I guess I'll finish that up. It's awesome. Patrick at the Live is very supportive.

Speaker B

00:11:43.030 - 00:11:47.910

What are they able to bring to the project that really just takes a load off for you?

Speaker C

00:11:48.550 - 00:12:41.830

One time, he explained it all to me. You know, that's the part that I never think of.

You know, they're getting depressed and shopping it, and they have a PR guy who's an awesome dude named Tony that I've known for a long time. And, I mean, they just bring the reality of it.

Like, I feel like when you're someone who writes songs and thinks about it all the time, you kind of just live in a dream world, you know, I know a lot of great artists that they never do anything because they have this career in their mind. You know, they never put out a record. They'll...

Summary

This week in 2015, we’re excited to sit down with Lee Gallagher from the band Lee Gallagher and the Hallelujah. Their self-titled debut album just dropped in January, and it’s already turning heads. Originally from the Midwest, Lee brings his indie rock roots and blends them with the psychedelic folk vibes of the San Francisco Bay Area. The result is a sound that feels fresh, emotional, and totally his own.

In our chat, Lee shares the unexpected story behind how the band came together, with musicians from all over bringing their unique styles to the mix. We also dive into the creative process behind the new album, which combines raw, live instrumentation with deeply personal songwriting.

Come along as we explore Lee’s musical journey, the making of the record, and the rich, inspiring music scene that fuels it all.

What We Wrote in 2015

Lee Gallagher inhales the Bay area of California, making it part of who he is musically. After a few years in the area, Gallagher appreciates its history and vibe even more than when he was a Midwestern kid seeking something other than cornfields. He is not jaded about his roots, though, rather, he takes the indie roots rock foundation and filters it through his newer psychedelic surroundings. With two recent albums that deserve a listen, Lee Gallagher shares his appreciation for his new home region and musicians.

Show Notes

• We sat down with Lee Gallagher, front man of Lee Gallagher and the Hallelujah, to talk about his journey as a musician and how the band came to be.
• Originally from Cincinnati, Lee shares how he and his bandmates, hailing from Indiana, Ohio, and Louisiana, all ended up in the artistic hub of San Francisco, where their musical paths crossed.
• The band’s self-titled debut album came together organically, blending indie rock with psychedelic folk to create a sound that’s both nostalgic and new.
• Lee opens up about his songwriting process and how deeply rooted his music is in American music history, pulling influence from the past while still pushing forward.
• Live performance plays a big role in the band’s identity. As they started playing together, their chemistry sparked something unique, a raw, energetic sound that really connects with audiences.
• We talk about the vibe in the studio while recording the album at Light Rail Studios, where collaboration and spontaneity helped shape the final sound.
• Lee highlights the importance of authenticity in their work and how the band’s dynamic fosters creativity and mutual inspiration.
• The conversation wraps with stories from the road and excitement for their upcoming tour, which will feature a visually immersive experience thanks to a collaboration with a well-known liquid light show artist.
• Overall, this episode offers a deeper look into Lee Gallagher’s artistic vision and the collaborative spirit that fuels the band, a reminder of how creativity thrives when people come together with a shared passion.

Links

• Lee Gallagher
• Lee Gallagher on Bandcamp
• You may also like our podcast with Cale Tyson
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
• After you buy music or see a show with these musicians, feel free to toss a few in our Tip Jar

Chapters

• 00:00 - Introduction to Lee Gallagher and His Music
• 02:05 - The Formation of the Band
• 04:21 - The Journey of Making Our Record
• 11:14 - The Influence of Place on Music
• 11:15 - The Indie Rock Scene in Ohio
• 14:30 - The Mad Alchemist and His Liquid Light Shows

Takeaways

• Lee Gallagher talks about how the band’s sound naturally came together, a mix of indie rock and psychedelic folk, shaped by each member’s different background and musical roots.
• The debut album is more than just a collection of songs. It’s a snapshot of their journey as a band and the creative energy that brought them together.
• Live shows are a huge part of what makes this band tick. Lee shares how performing live brings out a unique connection between the band and the audience.
• When it came to recording at Light Rail Studios, the process was fast, raw, and totally in the moment, which really helped capture the spirit of their sound.
• The band’s name, Lee Gallagher and the Hallelujah, nods to gospel influences and their goal of creating music that’s full of feeling and soul.
• Looking ahead, they’re gearing up for a tour that’s not just about the music. They’re adding a visual edge with a liquid light show to create an even more immersive experience for fans.

Mentioned in this Episode

• Lee Gallagher and the Hallelujah
• Crawl Space Press
• Light Rail Studios
• Crazy Horse
• Grateful Dead
• Sheryl Crow
• Eric Burdon
• Victoria Williams
• Neil Young
• Humble Pie
• Living Color
• Doobie Brothers
• Temples
• Chuck Prophet
• Heartless Bastards
• Wussy
• Guided by Voices
• Drivin n Cryin

Recommended If You Like

Lee Gallagher, Hallelujah band, Country Fried Rock podcast, indie rock music, psychedelic folk sound, San Francisco music scene, midwestern songwriters, new album release, vinyl records, music interviews, live music performances, band formation stories, musician collaborations, recording studio experiences, music production insights, Americana music, gospel influences in rock, music festival performances, artist promotion strategies, musical inspirations.

Transcript

Speaker A

00:00:00.160 - 00:01:19.200

This week on Country Fried Rock, I talk with Lee Gallagher of Lee Gallagher and the Hallelujah. Their self titled kind of debut record just came out in January.

This midwestern songwriter formed his band in the bay area of San Francisco, merging his indie rock roots with the psychedelic folky vibe of the area. It's a great record and a fun conversation with Lee Gallagher today on Country Fried Rock. We really appreciate your support for country Fried Rock.

Every so often we offer a limited edition T shirt only, on sale for three weeks. And when they're gone, they're gone forever. Our brand new design is a spark plug with a very small Country Fried rock logo.

On sale now for three weeks [email protected] Country FriedRock 4 it's the limited edition T shirt number four designed by Skillet Gilmour, noted musician and designer with Crawl Space Press. They're super soft with women's kids v neck hoodie, long sleeve and they're all on sale right now for three weeks only.

Teespring.com Country Fried Rock 4 Get yours before it's gone forever. My guest today on Country Fried Rock is Lee Gallagher with a brand new self titled record, Lee Gallagher and the Hallelujah. Welcome.

Speaker B

00:01:19.200 - 00:01:20.480

Thank you. Thanks for having me.

Speaker A

00:01:20.720 - 00:01:23.850

So how'd y' all end up out in California, kind of?

Speaker B

00:01:23.850 - 00:02:05.850

Well, I think all of us fell into the dream of California, I guess. I don't know. I wasn't begging to leave. I'm from Cincinnati. Cincinnati has a great music scene, great history.

You know, I've met all sorts of people there. Pootsie Collins lives there. I met his brother Catfish, or he died, which is cool. Just lots of cool stuff.

But I don't know, we just, we all kind of met out here. We're all from Indiana and Ohio and Louisiana. We came together kind of by accident. I met Kirby, who plays the piano playing in the street.

I walked past him and he had an upright piano out in the street and he was playing with a drummer.

And I kind of just had to stop and turn around and I got up the courage, kind of asked what they were doing and yeah, and then we kind of hooked up and then everybody kind of fell in.

Speaker A

00:02:05.930 - 00:02:09.289

When did it kind of gel and become like, hey, I think we're a band?

Speaker B

00:02:10.010 - 00:03:14.190

Well, I drove over to meet with Kirby. First of all, I love the piano and it's very rare to find somebody who really plays the piano.

A lot of times you see people kind of standing behind a keyboard holding down cords, but this guy can play. And so I was excited to Meet him. And I drove her to his house.

He lives in El Cerrito, over in the East Bay, which the only thing I knew about El Cerrito is our holy records, blues folk based record labels based out of there. And that's where John Fogarty's from. That's the only thing I knew. So I went over there and it was cool to drive around there. And I went to his house.

He has an upright piano in his house. And I kind of just sat down and played some old blues songs. And that was it. And then we got Jacob Landry, who plays the guitar from Louisiana.

I kind of. I met him on Craigslist. That was the only Craigslist involved in the thing.

Pretty much Craigslist for me is all I did is like, list like 10 cool, cool bands. And he replied, you know, I put Graham Parsons, the band, Neil Young, Humble Pie, that kind of stuff.

So he came over and then we just kind of all fell in and started playing.

Speaker A

00:03:14.350 - 00:03:20.730

As y' all got together and started playing, were you just jamming from the offse on your own stuff? How did that develop?

Speaker B

00:03:21.530 - 00:04:42.470

Well, the funny thing was, when I moved here, I tried to force myself to learn how to record myself, which I was never really interested in. A lot of people were doing that kind of home recording, bedroom stuff. And I'm just so untechnical trying to do that.

So I had all these songs and I wrote a bunch of new songs. I was kind of doing it in my bedroom. And I would go down to the desert down in Joshua Tree.

And I met a friend of mine was recording some of my stuff in his house. And. And he would bring friends over. And the people down in Joshua Tree who kind of ended up playing on my record were people I was huge fans of.

Victoria Williams. I don't know if you ever listen to her. Yeah, she sang on this thing that I did.

And this guy, Waller Ingram, who played Sheryl Crow, he's been touring with Eric Burdon. He comes and plays a lot up in the Bay Area. But I had all these amazing musicians playing on the record.

And I had this record out and I didn't really know how to. But I lived up in San Francisco and so I needed a band. I had this record, which hopefully people get to hear that one too.

Because it kind of got pushed under the rug. I got this new thing going, but I just kind of was wanting a band to play the songs live. And so.

But once we got into that, then all these new songs came and we kind of had our own Identity.

So we started playing live, and we kind of really caught on in San Francisco doing something that it seems like nobody else is doing, which is kind of cool. We didn't really mean to do anything that nobody's doing. It just kind of happened. So, yeah, we went into the studio and put out a record.

We recorded it about nine days. It took us nine days to do the whole record, so.

Speaker A

00:04:42.470 - 00:04:42.990

Hey, y'.

Speaker B

00:04:42.990 - 00:04:43.070

All.

Speaker A

00:04:43.070 - 00:04:57.170

This is Sloan Spencer, the host of Country Fried Rock. We've had an incredible year with more people finding us on the radio and our podcast than we ever imagined. Thank you all so much.

Careful what you wish for, you just might get it.

Speaker B

00:04:57.330 - 00:04:59.970

Hey, this is Lee Gallagher on Country Fried Rock.

Speaker A

00:05:00.210 - 00:05:01.730

And where did you go to record that?

Speaker B

00:05:01.970 - 00:05:27.110

It's a place called Light Rail Studios. It's in San Francisco. It's actually. We have a rehearsal space there and the studio is attached.

And we actually wandered down the hall and there's a studio there, and the guys who own it are great. Crazy Horse would record there. Betty Kanter, who used to do. She started recording the Grateful Dead live.

So all the live stuff, they had the Betty's tapes, the Betty's boards, they called them. So she was in there doing some stuff for Chris Robinson.

Speaker A

00:05:27.110 - 00:05:27.710

Oh, my gosh.

Speaker B

00:05:27.870 - 00:05:49.070

Him live. And so, you know, it's just very. You know, San Francisco is a small town. The people you run across are just crazy.

And so I felt really at home in that place. And so we just kind of had these songs. We went in and played all night, really just did our thing.

And the record that we put out is essentially all the drums and the bass and the live stuff is that one night. And then we kind of just build on that.

Speaker A

00:05:49.610 - 00:05:53.450

Wow, that's great. Did you have anyone operating in a producer role or were you all doing that yourselves?

Speaker B

00:05:53.610 - 00:06:05.210

It was kind of self produced. We didn't. Nick, who owns the studio, was really into what we were doing. It's a very unproduced record.

But he did some great stuff as far as the engineering and stuff that he did is pretty cool.

Speaker A

00:06:05.450 - 00:06:07.210

What was the name of that other record?

Speaker B

00:06:07.690 - 00:06:37.830

It was called Valley of a Dying Breed. Didn't get to do the proper publicity and everything for it. But there's some good songs.

There's some good songs with me and Vic singing on, and it's more kind of acoustic y. Heavier stuff too. But this, when we did this record, it turned. Turned out to be more psychedelic and more heavy, and it just kind of happened.

I didn't really. I always kind of compare us to Crazy Horse meets the Heartbreakers.

You know, Tom Petty always talks about how he has, like, the best rock and roll band ever. And that's why he never gets new people to play with, because he's like, why would I?

Speaker A

00:06:38.070 - 00:06:43.430

So tell me a little bit about the visual of the album cover and the artwork that goes with all of that.

Speaker B

00:06:44.070 - 00:07:47.740

Well, that was kind of funny.

Doing art, I guess I'm kind of hard to work with and kind of opinionated, but being somebody who can't really do anything, like, I know what I want, I guess, but I can't really do it. And so I guess I can frustrate people with. So anyway, it was just actually that photograph. It's my face.

Everybody's like, oh, you need to be on the COVID And I was like, okay. So then I just had a bunch of pictures taken in a drunken night one night. But those are the ones that I kind of liked.

And so I was like, can you just kind of make this into some kind of image? And so this guy, he was actually in Cincinnati, friend of a friend. You know, he was a graphic guy. And he knew that. He sent that right away.

I just said, can you do something like this? And he sent it right away. I was like, yep, that's it. Done. So I'm a big fan of birds. When I first moved here, we went up to.

There's the greatest concentration of bald eagles in North America at the border of Oregon and California, right around this time of year. So when I first moved here, I drove up there. It's in the middle of nowhere, but there's just like, bald eagles, like pigeons.

They were doing a very country thing down there. They were baptizing my little nephew in the swimming pool. And a bald eagle flew over down there in Kentucky.

And they said it was me in spirit being there.

Speaker A

00:07:48.300 - 00:07:52.980

Explain to me how you became Lee Gallagher and the Hallelujah and you're spelled with the J A H, not the.

Speaker B

00:07:52.980 - 00:08:47.360

I A. I've always had an affinity towards gospel music.

And what we were trying to do is if you ever listen to anybody who's really, really singing, they're usually singing gospel music and just singing their heart out and losing themselves. And so coming up with a band's hard. And I just had that solo record out, so I kind of had that my name on it already.

But I really am a band type person. I love being in bands. I love the music that a certain group of people make together in the interplay and all that kind of stuff.

So it was a lot about Victoria Too. Down in the desert. She would go in the desert. The sunsets are spectacular. The sky is purple and pink and crazy.

And she would just come out and say, hallelujah. It's a hallelujah sunset. You all seen this? So it was just something simple, but something kind of cool that I was like, why not?

But I wanted to call them something. I wanted to have the band called something, not just call it Lee Gallagher.

Speaker A

00:08:47.440 - 00:08:51.440

So for a band that's fairly new, what's working for you all?

Speaker B

00:08:51.760 - 00:09:36.490

I think what's working for us is just when we go play, there's just an energy that, I don't know, we kind of tap into when we play, and it's really coming across, and people are getting into it and happening really fast.

We've had a lot of good opportunities, like, right away, like, to open for the Doobie Brothers at Shoreline Amphitheater down in Mountain View, which is like, I know it, because that's where Neil Young holds the bridge benefit. You know, it's a big Grateful Dead. Like, you know, you go into the venue and there's just a huge steal your face symbol over the thing.

So it had a really cool vibe, and the Doobie Brothers are great, so we got to play with them and just different stuff. We got to open for Living Color, which is cool.

Those guys really loved us, and just different stuff is happening, like, really fast, and we're lucky to get on the ball and put a record out that's coinciding with the energy that's happening with our live shows.

Speaker A

00:09:36.490 - 00:09:58.690

Hey, y'. All, this is Sloane Spencer, the host of Country Fried Rock. Those of y' all who listen on our podcasts, it's a quick hit of just the conversation.

If you want the full radio program with all the songs that we talk about, ask for it on your local radio station, joining 20 other stations across the country. Get the [email protected] Hey, y', all, it's Lee Gallagher.

Speaker B

00:09:58.930 - 00:10:09.380

G A L L A G H E R In case you were confused. If you want to know more about our debut album, check it [email protected] what.

Speaker A

00:10:09.380 - 00:10:10.620

Do you all listen to currently?

Speaker B

00:10:11.260 - 00:11:13.970

All sorts of different stuff. I mean, Kirby, our piano players, more...

Summary

In this episode, we’re catching up with Cale Tyson, an artist known for his classic country sound and heartfelt songwriting. He’s got an exciting year ahead. He just signed with Clubhouse Records, which means his special double EP will soon be available across the UK. At the same time, he’s gearing up to record a new country soul album at the legendary Fame Studios in Muscle Shoals, Alabama.

We dive into Cale’s journey so far, from the music that’s inspired him to how his sound has evolved over the years. He shares the stories behind his latest projects and gives us a glimpse into what’s next. It’s a conversation full of reflection, passion, and a deep love for the roots of American music.

Here's What We Wrote in 2015

Cale Tyson surprised us with news of his upcoming country soul debut album, recording this spring at FAME Studio in Muscle Shoals, Alabama. His two recent EPs took him to traditional country music, cementing his transition from Texas indie folk to Nashville. After straddling the bubble of Belmont and real-life working musicians, Tyson is ready to find his voice in the coming year.

Show Notes

• We dive into Cale Tyson’s journey as a country artist, tracing how his sound has grown from folk-inspired beginnings to a more traditional country style.
• He talks about albums like High on Lonesome, which reflect his love for classic country and his desire to channel the spirit of legends like Ray Price.
• Cale opens up about his next big move: recording a country soul album at the legendary Fame Studios in Muscle Shoals, Alabama.
• This upcoming project is a big step for him, as he experiments with fuller arrangements, including horns and strings, a noticeable shift from his earlier, more stripped-down work.
• It’s a moment of artistic growth, and Cale shares what’s inspiring this new direction and how he’s approaching the creative process.

Links

• Cale Tyson
• Cale Tyson on Bandcamp
• You may also enjoy our conversation with Jim White
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
• After you buy music or see a show with these musicians, we would love your support with a few dollars in our Tip Jar

Chapters

• 00:02 - Cale Tyson's Musical Journey
• 03:56 - Transitioning to Nashville: Cale Tyson's Journey
• 08:49 - The Evolution of a Music Career
• 11:00 - New Collaborations and Upcoming Tours
• 15:08 - Discussing Upcoming Album and Recording Plans
• 19:34 - The Rise of Doug Segers: A Nashville Story

Takeaways

• In this episode, we sit down with Cale Tyson to talk about his journey as an artist and where his music is headed next.
• Cale's got a big year coming up. He’s getting ready to release a new album and dive into some exciting new projects.
• One of the big highlights? He’s heading to the legendary Fame Studios in Muscle Shoals to record a country soul record.
• With help from Clubhouse Records, his music will soon reach even more listeners across the UK, expanding his international audience.
• He looks back on how his sound has shifted over time: starting out more folky, then leaning into a traditional country vibe that really feels like home.
• Cale also talks about how much he values collaboration, especially getting to play and record with some of Nashville’s most talented musicians.

Mentioned in this Episode

• Clubhouse Records
• Fame Studios
• Teespring
• Krall SP Base Press
• Johnny Appleseed
• Schematic Studio
• Prater Day
• Bandit Brand

Recommended If You Like

Cale Tyson, Country Fried Rock, traditional country music, country soul record, Fame Studios, Muscle Shoals, album release, Clubhouse Records, UK distribution, Cheater's Wine, Nashville music scene, Belmont University, pedal steel player, indie rock, songwriting process, live performances, music collaborations, country music podcast, Americana music, indie country artists

Transcript

Speaker A

00:00:00.080 - 00:01:32.150

This week on Country Fried Rock, we're talking with Cale Tyson. With a couple of very traditional country eps under his belt, he's got an exciting year in store.

After signing with Clubhouse Records for UK distribution, our Euro friends can look for a special double EP album release sometime in the next year. While here in the States, Cale is getting ready to head to the noted Fame Studios in Muscle Shoals, Alabama to record a country soul record.

He's already released a couple of teaser videos and we're looking forward to talking with Cale Tyson today on Country Fried Rock. We really appreciate your support for Country Fried Rock.

Every so often we offer a limited edition T shirt only on sale for three weeks and when they're gone, they're gone forever. Our brand new design is a spark plug with a very small Country Fried Rock logo.

On sale now for three weeks [email protected] Country FriedRock 4 it's the limited edition T shirt number four designed by Skillet Gilmore, noted musician and designer with Krall SP Base Press. They're super soft, women's kids v neck hoodie, long sleeve and they're all on sale right now for three weeks only.

Teespring.com country friedrock4 get yours before it's gone forever. My guest today on Country Fried Rock is Kale Tyson with a brand new, well, not so much brand new. It's my fault.

I dropped the ball and didn't return the email. But it's a fantastic record. Cheater's Wine. Welcome.

Speaker B

00:01:32.310 - 00:01:33.270

Hey, how's it going?

Speaker A

00:01:33.430 - 00:01:41.990

Fantastic. So I've been listening to your music, I guess since High on Lonesome was when I first became familiar with you. What took you to Nashville?

Speaker B

00:01:42.630 - 00:02:34.000

Basically I grew up in Fort Worth, Texas for the most part and then I went to college for a year.

I wanted to go down to Austin to go to school down there, didn't get accepted and then ended up going to SMU in Dallas, started getting into the music scene there and I had a friend who had moved to Nashville and you know, I was telling him kind of the things with the music scene there versus what I wanted to do and wasn't really happy with everything that was going on. And he was like, man, you should come, come out here, come out to Nashville. There's Belmont University here.

You can go there and finish your degree and everything and, you know, take music more seriously. So yeah, I ended up transferring to Belmont and finished my degree here.

And the funny thing about that was the guy who had convinced me to come out here, he moved back to Fort Worth, like, a month before I moved out here. I moved out here and knew. Knew nobody.

Speaker A

00:02:34.160 - 00:02:35.040

Oh, my goodness.

Speaker B

00:02:35.040 - 00:02:35.520

Yeah.

Speaker A

00:02:35.600 - 00:02:37.120

So Belmont is pretty intense.

Speaker B

00:02:37.600 - 00:03:55.650

Yeah, it was.

You know, I got a music business degree, and I quickly realized that, you know, it took me maybe a year of going to school and doing internships that I was like, you know, I don't really want to be in the music business on the business side, per se. I couldn't do both the creative and the business aspects of it.

But the cool thing about it was the school taught me so much about things I needed to be doing as an artist that I would have never found out that early on, as far as pros, as far as, you know, publishing and all sorts of stuff. Another cool thing about it was just I met a lot of the people that I. That I still play with today and made a lot of great friends there.

And, yeah, it was a good school. It was a good, good experience for me. Yeah. I mean, and I had never experienced that level of competition either.

I mean, well, just Nashville in general, but, you know, the kind of thing with Belmont that I managed to get away from. Everyone talks about the Belmont bubble. While you're going to school there, you can get so involved with the music scene.

Just the Belmont to forget about, you know, the whole community in Nashville as the whole city. So when I moved to Nashville, I lived off campus originally, and, I mean, the whole time I had a house here.

And so I think that was really good for me, to actually be able to never, never fall into that bubble. And it was always there, but it was friends with people that, you know, didn't necessarily go to school, and so it's good.

Speaker A

00:03:55.650 - 00:03:56.170

Hey, y'.

Speaker B

00:03:56.170 - 00:03:56.210

All.

Speaker A

00:03:56.210 - 00:04:10.370

This is Sloan Spencer, the host of Country Fried Rock. We've had an incredible year with more people finding us on the radio and our podcast than we ever imagined. Thank you all so much.

Careful what you wish for. You just might get it.

Speaker B

00:04:10.370 - 00:04:13.570

Hey, this is Kale Tyson, and you're listening to Country Fried Rock.

Speaker A

00:04:13.810 - 00:04:22.020

When you're out of school and you started doing your own thing, you talk about, you know, you meet people and they're your friends, and that's who you call in to help you when you're wanting to record. How did that develop for you?

Speaker B

00:04:22.580 - 00:06:23.550

So basically, the first kind of group of people I was playing with were a couple of them were kids from Belmont that I went to school with some of my first friends in town. And then at that time, I was doing more kind of a folky, indie rock kind of thing. Not so Much country, but it was all leading that way.

I had a show at my house one time, and this band came from Boston. They all went to Berkeley. A lot of them did. And this guy came down and was playing pedal steel with them.

And I had never played with a pedal steel player before, but I was fascinated by it. And he told me, you know, I'm thinking about moving to Nashville in, like, a couple months.

I'll reach out to you once I get there, and we should play together. I was like, yeah, man, that would be amazing. So, I mean, this is way back. This is probably four years ago or so.

And I had a Craigslist ad out at the time that was just sitting out on Craigslist and said, you know, looking for a pedal steel player. And he reached out to me, and I was like, brett, like, you know, it's me, KO we met. You know, come. Come play pedal steel with me.

So, yeah, he's been playing with me ever since. And then the rest of the guys just been, you know, part of the scene that I've just come to know.

And, you know, I play with a lot of different players, too, for certain gigs, so it's. It's not really a totally set band anyway, so it's a great, great little mix.

That's another really cool thing about living here is you get the opportunity to play with some of the just insanely good players. I never would have even imagined I could play with.

Like, I've been doing this downtown gig two or three times a month, this place called the Acme, and I had a guy filling in for Brett on pedal steel named Pete Fay. He's played with all sorts of people.

I needed a bass player for a gig, so I reached out to Pete, and I was like, pete, you know, do you have any bass players in mind that we could use for this gig? And he's like, yeah, give this guy Brad a call. It's called Brad Albin. And I call him, and he's like. He's like, yeah, yeah, I can play.

I was like, yeah, just making sure, you know, that, you know, like, the whole classic country thing that we kind of. You know, we do a lot of covers from the 50s through the 70s and just making sure you'd be okay with that.

He's like, yeah, I think I should be okay with that. I play with the Time Jumpers every Monday night. Oh, my God. Okay. Yeah.

Speaker A

00:06:23.870 - 00:06:25.710

Sorry. My foot tastes really good right here.

Speaker B

00:06:25.950 - 00:06:32.190

Yeah. Yeah. So it's. I mean, it's just been killer to be able to Just be on a stage with those same people.

Speaker A

00:06:32.830 - 00:06:42.190

So you did the initial EP release and then what changed for you from when High On Losing came out to what ultimately led to Cheater's Wine?

Speaker B

00:06:42.720 - 00:07:06.880

I did High on Lonesome with it was my first really traditional country record where I was like, you know, I want to go all for country for this and just make this sound as much like a, you know, traditional Ray Price record kind of as possible. You know, I had Kenny Vaughn in the studio and I had a bunch of great players on it.

And it was kind of one of those records where we go into the studio and we were there for six hours and we basically tracked the entire thing.

Speaker A

00:07:06.880 - 00:07:07.320

Wow.

Speaker B

00:07:07.320 - 00:08:18.010

And so, you know, each song we get two passes and then everyone be like, all right, you cool with that? Cool, yeah. Okay, let's move on to the next song. Which is great, but it was so intimidating. And I was like, I think it's. I think that was a good pass.

I hope so. And so then there's a lot of waltzes on there. It's a pretty slow, sad record. And so, you know, I started playing the songs out.

And I love flow songs, but playing those out, it didn't really, you know, it kind of dragged at some points. And so I started writing a little more up tempo kind of stuff and then kind of got a. A little bit later of a sound.

Like I was listening to a lot of Gary Stewart and Mel street and stuff like that kind of late 60s, early 70s country.

And so when we did Cheater's Line went in to cut those songs and I decided for this one, I was like, you know, let's made a deal with one of my friends at a studio at the time, and I was like, let's do each song almost one by one.

So we would go into the studio and we would just focus on one song at a time pretty much, and just work on that song all day and make up the coolest arrangements we could. The cool thing about that was Robert Ellis was living in Nashville at the time and we've been playing together a little bit.

So he came in and he played all the guitar on the record, which was really cool.

Speaker A

00:08:18.250 - 00:08:20.410

And so what studio were you able to do that with?

Speaker B

00:08:20.650 - 00:08:46.790

It was called Schematic Studio. It does not exist anymore. It was a really interesting place. My friend was almost subletting the studio and it was over in Green Hill, which is.

There's like, not really any studio. It's not known for having studios. It was almost like a duplex kind of place.

But it was cool because, you know, we had the freedom to just hang out there. No one else was really coming. It took us a couple months. We just took a pretty relaxed approach at it. It was nice. It was a good way to do it.

Speaker A

00:08:46.790 - 00:09:07.310

Hey, y', all, this is Sloan Spencer, the host of Country Fried Rock. Those of y' all who listen on our podcasts, it's a quick hit of just the conversation.

If you want the full radio program with all the songs that we talk about, ask for it on your local radio station, joining 20 other stations across the country. Get the goods at country fried rock.org.

Speaker B

00:09:07.310 - 00:09:16.170

Hey, this is Kale Tyson, and you can check out some of my music, upcoming shows, videos, and all that good [email protected].

Speaker A

00:09:16.330 - 00:09:20.810

Pretty nice to have Robert Ellis come on in and play some guitar. Did you end up calling in any other friends for other parts?

Speaker B

00:09:21.050 - 00:09:49.380

I actually used a lot of the band that I was playing with and I still do play with often at the time, a band called Johnny Appleseed. So it was Andrew Squire played drums on it. He's in Johnny Appleseed. And Rhett, of course, played steel.

Brett Resnick and then Mark Sloan also did some guitar stuff on there. And a guy named Casey Driscoll played fiddle on there. It was a lot of those guys. The same guy that played bass.

My first record on Highlandson played on this one, Mike Rinny. He's always kind of been around. He's great. He's played with Rodney Crowell and all sorts of people.

Speaker A

00:09:49.460 - 00:10:01.780

As you were able to, I guess, take your time would be the right way to say it, but to get the songs the way you wanted without quite the same time pressure as the previous release. What happened with the record after?

Speaker B

00:10:02.660 - 00:11:00.300

I. I'm a perfectionist. And so taking my time was both a good thing and it was kind of a bad thing because I would be like, I don't know if this song's finished.

I don't know if we did this well. I don't know. Maybe we should go back in and recut this. Maybe we should do another vocal cut on this one. I don't know.

So, I mean, I like doing it, but at the same time, it was very frustrating for me in my head, just me in my head, second guess everything.

But, you know, the response, it was really cool after the record because for High on my, I did have the publicist helping out because that was kind of my debut, you know, release. And so I had a publicist for that, and she helped out A lot with getting some cool stuff from me.

And then this one, I put it out and, you know, I reached out to. I didn't use a publicist for it, and I just reached out to everyone that I kind of knew and it was awesome.

I mean, got on Rolling Stone, Country's American Songwriter, you know, all sorts of really great stuff happened. I was very happy with it and I looked at it as a growing thing. It's not just the same album release again. I looked at it as stepping up.

Speaker A

00:11:00.300 - 00:11:03.340

How did Clubhouse Records come on board? What is that relationship?

Speaker B

00:11:03.660 - 00:11:59.540

I guess it's probably been six months or so now. They had emailed me and said, you know, we'd love to talk to you about maybe doing a release over in the UK on this record label.

It's a pretty small record label and at the time I'd never heard of them or anything. And so I didn't really take it that seriously. And then I think they emailed me again or something.

And a friend of mine, Emma Swift, I reached out to her about them and asked her if she knew them. She did. And she was like, yeah, they're great. Told me all these great things.

I was like, that is so awesome to hear because that's a region that, honestly, I don't know anyone out there other than Emma. So it was really great to hear that. And then I kept talking to them and we made a...

Summary

This week on Country Fried Rock from 2015, we dive into the story behind the long-awaited return of 6 String Drag, a band that made waves in the late '90s before quietly stepping away from the spotlight.

• We caught up with bassist Rob Keller to talk about the band’s journey, from their beloved album Hi Hat to their brand-new record, more than 15 years later.
• The big question: why the long break, and what brought them back together now?
• Even though we recorded this one out in the field (so the audio’s a little rough), the conversation is full of great insights into the evolution of roots rock and roll.
• Rob opens up about the unique dynamics of reuniting with old bandmates, how their creative process has changed over the years, and what it feels like to make music together again.
• We also touch on the magic of reconnecting—not just as musicians, but as friends—with songs that carry the weight of time and experience.

It’s a heartfelt look at a band rediscovering its rhythm, and a reminder of how music can bring people back together, even after years apart.

Show Notes

In this episode of Country Fried Rock, we hit the road—literally—trying out mobile recording gear to capture the feel of live, in-the-moment conversations. Here’s what you can expect:

• We sit down with Rob Keller, bassist and creative force behind 6 String Drag, for a deep dive into the band's history and recent reunion.
• Rob shares stories from the High Hat era, an album that had the band on the verge of a major breakout back in the '90s.
• We talk about the band’s long silence after that high point, and the personal and professional factors that led to their extended hiatus.
• The conversation blends nostalgia with fresh excitement, as Rob reflects on what it’s been like to reconnect with Kenny Roby and the rest of the band after 15 years.
• He opens up about how their sound has changed, what’s stayed the same, and how life off the road shaped the music they’re making now.
• Despite some audio hiccups from recording in the wild, the heart of the conversation comes through, full of honesty, history, and hope for what’s next.

This episode is all about second chances, old friends, and the music that never really goes away.

Here's What We Wrote Back in 2015

Kenny Roby (previously featured) and Rob Keller disbanded 6 String Drag at the top of their game, nearly 15 years ago. The first new album from 6 String Drag, Roots Rock N Roll, brings the group together again, ranging the gamut of roots rock with their brother-from-another-mother harmonies. Why would a regionally beloved band, seemingly at the peak of success, fall off the face of the earth? Love.

Links

• 6 String Drag on Bandcamp
• Welfare Liners on Bandcamp (Rob Keller in a side project)
• Roberto Adega on Bandcamp (Rob Keller project in Portuguese)
• You might also like our conversation with Jim White
• After you buy music or see a show, we appreciate your support with a few dollars in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Takeaways

• In this episode of Country Fried Rock, we talk about 6 String Drag’s return to recording after an 18-year break. Yes, it’s been that long!
• Rob Keller shares how his musical path has evolved over the years, including his work with both 6 String Drag and the Welfare Liners.
• There’s real excitement around the band’s upcoming album, their first in nearly two decades and reflects everything they’ve learned and lived through since the early days.
• Rob talks about the importance of supporting local record stores and how much it means when fans pick up physical copies of the music.
• We also touch on the realities of touring: the good, the tough, and how musicians juggle their love for the road with family life back home.
• And finally, we get into what it actually takes to make a record these days, from songwriting to studio time to the collaborative magic that brings it all together.

It's a laid-back, honest conversation about returning to your roots, growing through the years, and still chasing the music.

Mentioned in this Episode

• 6String Drag
• Welfare Liners
• Drive By Truckers
• Memories and Birds
• Adobe Audition
• Fidelatorium
• Jason Merritt
• McKenny
• Joe Swank
• Skillet Gilmore
• Drivin n Cryin

Recommended If You Like

Country Fried Rock, Six String Drag, Rob Keller interview, roots rock music, bluegrass band, new album release, mobile recording technology, music podcast, Americana music, band reunions, live music shows, vinyl record production, folk rock, band dynamics, songwriting process, music collaboration, audio quality issues, house concerts, regional music scenes, music industry insights, 6 string drag

Transcript

Speaker A

00:00:00.240 - 00:00:58.940

This week on Country Fried Rock, we decided to take the show on the road for a few weeks, testing out some new technology for mobile recording. Yep, it sounded like a great idea, but unfortunately, it doesn't sound that great.

So don't miss a minute of the Country Fried Rock road trips on countryfriedrock.org this week on Country Fried Rock, I talk with Rob Keller of Six String Drag.

After their successful album hi hat in the 1990s, the band seemed poised to move beyond their regional success when they seemingly fell off the face of the earth. What happened to that great combination of Kenny Robey and Rob Keller and friends as Six String Drag?

This is another one of our field recordings, so the audio quality is not quite up to our standards, but it's a great conversation about roots rock and roll. The first record in 15 years from Six String Drag, it's Rob Keller of Six String Drag this week on Country Fried Rock.

Speaker B

00:00:59.410 - 00:01:09.250

My guest today on Country Fried Rock is Rob Keller, bass player, musician, songwriter, producer, and currently back with Six String Drag again. Hey.

Speaker C

00:01:09.490 - 00:01:09.970

Hey.

Speaker B

00:01:10.290 - 00:01:27.090

So just in some context for listeners, we met through mutual friends a few years ago, and then I realized at the same time, I was like, oh, that's the same Rob Keller from Six String Drag. Wait a minute. What are you doing playing bluegrass? What have you been doing musically for the last few years?

Speaker C

00:01:27.890 - 00:02:08.670

Well, the last few years, as you might know, I've been in the. I've started a bluegrass band called the Welfare Liner. Three years ago, just playing.

I really put it together, really just because I was bored and didn't have a lot of playing going on in the area. And I played bluegrass in the past and I had some friends that also played. And so we decided to put the band together.

And then as it progressed, I started writing songs for the band. So we put out one record so far and we've got one in the can actually. Actually have another record supposed to come out next year, so.

So that's what I've been doing, really, up until about a year ago. Been hooked back up with Kenny again, the Six String Drag, which has been a real blast.

Got the one record about to come out and we're really excited about it.

Speaker B

00:02:09.070 - 00:02:20.670

There's lots more that goes on with all that. Kenny Robey is, of course, the Kenny that you're talking about.

And we actually featured Kenny on his last solo record, Memories and Birds, which was a beautiful record as well.

Speaker C

00:02:21.070 - 00:02:32.960

Yeah, he recorded that at the same time we recorded the Welfare Liners. And we were swapping songs back and forth and playing Each other's songs, you know, because we were all through all this. Yeah.

My wife's like brothers. We're like brothers.

Speaker B

00:02:33.920 - 00:02:41.360

Speaking of which. And I'm sure I know I'm not the person won't be the last to say it. Your voices together when you sing. You do sound like brothers.

Speaker C

00:02:41.920 - 00:02:51.120

That's true. We love the brother harmony. Something really has clicked with Kenny and I as far as the.

We seem to have our own little sound with it and people seem to enjoy it. We enjoy it.

Speaker B

00:02:51.380 - 00:02:55.780

At what point did it become, hey, let's. Let's see what Six String Drag might look like?

Speaker C

00:02:56.020 - 00:03:36.170

Well, it kind of started probably over a year ago. We talked about maybe Kenny and I just doing a record together as a Kenny solo record and then me playing on it.

And then it progressed into, well, let's get Scott Miller. And then it progressed and, well, let's fly Duffy Ann for this little project, you know.

And so then it kind of and still was going to be maybe a Kenny Roby solo. Because we didn't know what the band could get back together and actually play on the road. We decided to do some of that, actually.

Just Kenny and I being six String drag as a duo. Just the two of us with the pitch of guitar and stand up bass, you know, or get some other guys and be able to go out and play as a six String Drag.

The band, dude, the rock band.

Speaker B

00:03:36.330 - 00:03:42.490

I got to see y' all as both a duo and as a band. Then over this reinterpretation of what six String Drag is.

Speaker C

00:03:43.050 - 00:03:59.880

Yeah, I think we kind of picked up where we left off because we still have that same sound. Been 18 years since we recorded a record.

And I like to think that even if we stay together all this time and we had recorded made all these albums in between during all these years, that we still would have come out with a record that sounded like this at this time.

Speaker A

00:03:59.880 - 00:04:14.560

Hey, y', all, this is Sloan Spencer, the host of Country Fried Rock. We've had an incredible year with more people finding us on the radio and our podcast than we ever imagined. Thank you all so much.

Careful what you wish for. You just might get it.

Speaker C

00:04:14.560 - 00:04:15.120

Oh, yeah.

Speaker A

00:04:15.120 - 00:04:28.020

And if any of you all are experts on Adobe Audition, would love some help fixing up these last few field recordings, helping to get rid of that echo and improve the sound because next week's show is pretty darn fabulous.

Speaker C

00:04:28.260 - 00:04:32.340

Hey, this is Rob Keller from Six String Drag on Country Fried Rock.

Speaker B

00:04:32.500 - 00:04:37.700

In the meantime, both of you have really, really developed as players and writers.

Speaker C

00:04:38.340 - 00:05:03.120

Yeah, I think that we are better musicians. I mean, during all this time that we weren't together, we did get together a few times all through the years, do some little not reunion things.

We just play together and then we been in different bands and we've kept in touch with each other. And just through the years, we still play that. We're lifers, you know, we're playing music for life, whether we make money or not.

Yeah, we're constantly playing. And so through all the years, you know, we have developed musicians, I believe.

Speaker B

00:05:03.520 - 00:05:10.400

What's different for you all deciding to come back together and making this really be your choice to make it happen.

Speaker C

00:05:11.040 - 00:05:43.220

I think we just decided to do it because we like to play together and we like the music. I think that's just the number one thing. There's never been too big of a market for us probably anyway. We've always been very eclectic.

And we started off, we'd play Honky Tonk country song here, then we play a rock song and sometimes meld the homogenized kind of sound from that.

But mostly that we were influenced by many different things and we would play a song in that style of all those different things that we like, rather than melding it all together.

Speaker B

00:05:43.300 - 00:05:47.860

What's it like for you to decide to put out a record from a logistics standpoint now?

Speaker C

00:05:49.030 - 00:06:12.910

It's not too hard, actually. It's kind of easier in these days. You know, anybody can put out a record if they want to. It's a little bit of money.

You can record something on your phone and then record something and then release it digitally if you wanted to.

There was a chance that we might just do something digital, but, you know, now it's escalated into even getting vinyl out, which I'm very excited about. That's actually why the record was pushed back almost a month, is because we're waiting for some vinyl records to be pressed.

Speaker B

00:06:12.910 - 00:06:17.590

So have you been able to bring in other people to be part of the team to help make this successful?

Speaker C

00:06:18.060 - 00:06:57.550

Oh, yeah.

I mean, we have our porn players, we have David Pops Wright, who is our piano player slash trombonist, played with us back in the past in round 96 to 97. He was not on High Hat, but he's on that Jack session CD that we. Yeah, he's all over that with the keys and the horns.

And so he's playing with us now. And that's really exciting too. I think having some horns on the road makes our sound bigger.

Kenny's worked with Jason Merritt, who engineered and helped produce the record. He worked Very hard on it. He worked on some McKenny stuff in the past.

Memories and birds, people with the label, and, as you know, Joe Swank helping us. And everybody's really excited about it, I think.

Speaker A

00:06:58.030 - 00:07:16.110

I'm your host, Sloan Spencer. You can keep in touch with us on Facebook.

But I really like Twitter, where we are at country fried rock ending with R O K. And if you want to see pictures of my shoes, my dog and my lunch, stop by Instagram. But whatever way you like to hang out, so stop by and say, hey.

Speaker C

00:07:16.430 - 00:07:55.410

Hey. This is Rob Keller of six Dream Drag. You can find out everything you need to know about [email protected]. that's with the number 6 or S IX.

Where did y' all recorded? Fidelatorium, Mitch Easter's studio. He did not record it. He wasn't around. But Jason Merritt, he was a mastermind, I would say.

Kenny and Jason probably had most to do with that. We did a lot of helping with the arranging of the songs and of course, made up our own parts and stuff like that.

But as far as producing, yeah, it was very collective. Collective, I'd say. We were there for four days and we recorded this.

Speaker B

00:07:55.570 - 00:08:00.050

Had you all already worked those songs up live prior to going in to record at the auditorium?

Speaker C

00:08:00.210 - 00:08:32.540

No, we did not. Kenny had just written them and we just got together and all played them for the first time.

I went through song by song and just did some arranging and put them down on tape. And I think there's some real magic there.

We had a great time doing it, and I think having fun and having a blast doing it really helps, like, the energy of the whole thing. Little on the, you know, on the acoustic side, it has this neo retro vibe, I guess you'd call it.

Has a lot of 50s rock influence as far as the themes, really. Some of the songs venture out into other things, but we're excited.

Speaker B

00:08:32.860 - 00:08:35.700

What does touring or playing out look like for y'?

Speaker C

00:08:35.700 - 00:08:56.720

All? Well, getting around day jobs, we are starting off with long weekends, just trying to take it as it comes.

And if things get offered to us that are big and further away, then we can take time from those jobs and get out and, you know, and do what we need to do. But right now, it's long weekends in the Southeast, mainly. Some Midwest, I think, later on. And when the record comes out, we hit it a little harder.

Speaker B

00:08:57.200 - 00:09:03.360

What surprises you of people who are finding your music now, whether they're rediscovering it or whether they're new to it?

Speaker C

00:09:03.960 - 00:09:26.120

I guess both is surprising me a little bit because maybe I've just been out of it for the past 15 years, stuck in that, playing into bluegrass. Man, it's fun seeing people coming out of the cracks and going, whoa, I love these guys back then.

They fell off the face of the earth, and here they are again. It's kind of neat to hear that. You know, it's spiked some excitement in all of us to be able to go out and do this again.

Speaker B

00:09:26.680 - 00:09:32.370

What did happen? I felt like y' all were, like, at the top of your game, and then the next thing I knew, we.

Speaker C

00:09:32.370 - 00:09:52.330

Fell off the face of the earth. Yeah. Yeah. Well, basically, family, just three out of the four members came home and got their wives and girlfriends pregnant.

So we had babies to tend to. We do everything for love, and love found us. You have to stay with love.

So now that the kids have kind of grown up, now that we can get out and, you know, daddy can rock and roll.

Speaker B

00:09:52.330 - 00:10:05.240

I guess you used the word earlier. Something like the old magic back together or something to that effect.

And it was interesting because I guess the last time I saw y' all play as a full band was over the summer. And there really is just some magic with y'.

Speaker C

00:10:05.240 - 00:10:12.720

All. Yeah, I think so, too. We feel it, and it's real exciting when we play together. And that's why we like to do it.

That's why we want to do it as much as we can.

Speaker A

00:10:12.800 - 00:10:34.940

Hey, y'. All. This is Sloan Spencer, the host of Country Fried Rock. Those of y' all who listen on our podcasts, it's a quick hit of just the conversation.

If you want the full radio program with all the songs that we talk about, ask for it on your local radio station, joining 20 other stations across...

Summary

This week’s episode from 2015 of Country Fried Rock takes a deep dive into the world of collaboration, with the talented Jim White joining us to talk about his recent partnership with the Packway Handle Band. We get into the highs and lows of working together creatively, especially when it comes to music production. Jim shares what it's like to take on the role of a “record foreman” instead of a traditional producer, giving us a fresh perspective on the creative process.

Throughout the conversation, we talk about how different musical influences blend together, particularly the mix of Bluegrass with other genres, and Jim opens up about how his sound has evolved over time. Plus, we get into the challenges and wins he’s experienced in the studio, all while emphasizing how important spontaneity and connection are to making great music.

It’s an insightful look at the art of collaboration and the exciting world of modern Southern music. Tune in and join the conversation!

Show Notes

• In the latest episode of Country Fried Rock, the hosts try out some new mobile recording tech to capture their musical conversations on the go.
• While the idea is exciting, the sound quality didn’t quite turn out as expected, and it’s a bit rough around the edges.
• Despite that, the episode is packed with engaging discussions, featuring the talented Jim White.
• Jim shares some great insights into his recent collaboration with the Packway Handle Band, giving listeners a peek into the creative process behind their work.
• This episode runs a bit longer than usual, offering plenty of time to dive deep into the artistic chemistry that comes from blending different musical backgrounds.

Here's What We Wrote Back in 2015

Jim White’s songwriting and visual art are some of the tangible fruits of his sometimes dark thoughts, but he is not the tortured Southern Gothic poet of his past. When Packway Handle Band (previously featured on Country Fried Rock), sought White’s assistance in producing their new record, they ended up collaborating in a back and forth manner, with White sharing a trove of bluegrass songs he had written with the Packway Handle guys, and Packway Handle sharing their new songs with White — hence, Jim White Vs. Packway Handle Band on this new Yep Roc release. Do not pigeonhole what you think you know about Jim White, nor of the Packway Handle Band; they all are pushing their boundaries to move into new territory musically. White does not tour the US much, but catch a show, if you can, most likely in Europe, where he is a cult figure.

Buy Take It Like A Man here.

Takeaways

• In this episode, we took a shot at mobile recording and explored some new tech along the way.
• Even with the challenges of recording on the road, we managed to have some great conversations over the course of four weeks.
• Jim White joined us to talk about his collaboration with the Packway Handle Band and the creative journey they’ve been on together.
• Their process was all about trading songs and ideas back and forth, building something truly collaborative.
• Jim shared how much he enjoys producing music—not just for himself, but in helping others bring their artistic visions to life.
• We wrapped up the episode reflecting on how connection, creativity, and a little spontaneity are at the heart of making music.

Chapters

• 00:00 - Country Fried Rock Road Trips
• 02:53 - The Musical Collaboration Begins
• 07:45 - Exploring Genre Boundaries in Music
• 11:12 - A Journey to Denmark: The Arts Festival Invitation
• 21:51 - The Journey to Connection
• 22:43 - Letting Go and Contributing

Links

• Jim White vs Packway Handle Band on Yep Roc Records
• Jim White
• Jim White on Bandcamp
• You may also enjoy this conversation with Danny Barnes
• After you buy music or see a show, we appreciate your support with a few dollars in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Mentioned in this Episode

• Country Fried Rock
• Jim White
• Packway Handle Band
• Skipper Dee's
• Bright Eyes
• YEPROC
• Luakabop
• Anchor and the Butterfly
• Drivin n Cryin
• Steve Soto and the Twisted Hearts

Recommended If You Like

country fried rock, Jim White, Packway Handle Band, bluegrass music, mobile recording podcast, country music podcast, music collaboration, Southern music scene, indie music production, music interviews, recording studio techniques, music technology, acoustic music, Americana music, music production tips, creative collaboration, road trip podcast, artist interviews, music genre fusion, live music performance

Summary

Danny Barnes, the incredibly talented banjo player, just won the prestigious Steve Martin Prize for Excellence in Banjo and Bluegrass. It's a huge recognition that really highlights his impressive musical journey. In this conversation, we dive into the different sides of his artistry, everything from his experimental electronic folk music to his deep roots in traditional bluegrass. This year is extra special for him as he’s starting on some exciting new projects, like a pure banjo album and even a unique blend of banjo and tuba. We also talk about how this award, along with its financial support, is giving him the freedom to focus on long-awaited projects that are finally coming to life. So, come along as we explore the many layers of Barnes's music and how his creative vision is leaving a mark on today’s music scene.

Here's What We Wrote in 2015

Danny Barnes returns to Country Fried Rock to discuss his recent accolade, the Steve Martin Prize for Excellence in Banjo and Bluegrass. Barnes has two distinct audiences: those who know him for playing with bands ranging from Dave Matthews Band to the Butthole Surfers, and those who know him for his songwriting and wide-ranging banjo styles. The term “electronic folk” may have been coined just for him.

Barnes is fascinated by sound, and how incongruous sounds mesh or conflict. From the computer programs he designed to interpret his banjo or bazouki playing to his obsession with noise music and cassettes, Barnes is engrossed by the process as much as the product. This year, he released a special recording for Cassette Store Day on his cassette-label, Minner Bucket Records, and will release a more traditional bluegrass album later. Barnes’ take on “tradition” is anything but traditional, though, so it is guaranteed to be another fascinating investigation of technology and instrumentation.

***We also spoke with Barnes in 2010 and hope to find that hard drive.

Show Notes

• The latest episode features Danny Barnes, an influential banjo player known for his groundbreaking work in bluegrass and experimental music.
• Barnes recently won the prestigious Steve Martin Prize for Excellence in Banjo and Bluegrass, and in this conversation, he reflects on the impact of that recognition on his creative journey.
• He explains how the financial support from the award is giving him the opportunity to pursue new artistic goals, including a long-awaited banjo album that captures his musical evolution and celebrates the instrument's pure sound.
• We dive into his diverse musical influences, from traditional bluegrass to experimental electronic compositions, and discuss how his upcoming banjo album represents a return to his roots.
• This album is just one side of Barnes’s creativity. He’s also continuing to push the boundaries of electronic music, blending genres in unique ways and challenging conventional ideas of what music can be.
• Barnes’s label, Minner Bucket Records, plays a big role in his approach to music. He values artistic independence and community engagement, and shares stories about his hand-crafted cassette releases, highlighting the personal connection they create with his audience.
• As the conversation unfolds, Barnes explores how bluegrass and electronic music, though different, share a common thread rooted in cultural tradition while embracing modern technology.
• This episode is a celebration of how bluegrass remains a vital and evolving art form, with Danny Barnes at the forefront of shaping its future through his innovative work.

Links

• Minner Bucket Records
• dannybarnes.com
• Danny Barnes on Bandcamp
• You might also like our conversation with Mike Mantoli of Hollis Brown
• After you buy music or go to a show, we would love your support with a few dollars in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Takeaways

• Danny Barnes has had an amazing year, winning the prestigious Steve Martin Prize for Excellence in Banjo and Bluegrass, which is a huge recognition of his talent in the genre.
• His music spans a wide range of styles, from experimental electronic folk to classic bluegrass, proving just how versatile he is as an artist.
• Thanks to the financial support from the prize, Barnes now has the time and resources to finish several long-term projects, including a much-anticipated banjo album he's been working on for a while.
• Barnes is all about embracing technology to fuel his creativity, stressing the importance of using new tools while staying true to his artistic vision.
• His work with Minner Bucket Records is a great example of this. Not only does he release his own music, but he also supports and promotes other artists he believes in.
• Throughout the conversation, Barnes shares his belief that music and art have the power to transform, and he encourages others to innovate and express themselves authentically in their creative journey.

Chapters

• 00:02 - Danny Barnes: A New Chapter in Bluegrass
• 04:40 - The Journey of Music and Creativity
• 08:16 - The Evolution of Music Production
• 16:20 - Exploring the Intersection of Music and Technology
• 24:00 - The Evolution of Music Production
• 25:21 - The Allure of Cassette Players

Recommended If You Like

Danny Barnes, banjo player, Steve Martin Prize, bluegrass music, experimental folk, electronic music, Country Fried Rock, noise music, banjo recordings, Minner Bucket Records, Barnyard Electronics, cassette tapes, DIY music, underground artist, acoustic music, creative process, music production, sound manipulation, contemporary art in music, music collaborations

Transcript

Speaker A

00:00:00.160 - 00:00:39.860

Danny Barnes joins us again this week on Country Fried Rock. The upstart banjo player just won the Steve Martin prize for excellence in banjo and bluegrass.

While Barnes is often known for playing with other bands, his own work ranges from experimental electronic folk music. Yes, you heard that. Right. Through funky rock with a banjo all the way through. To noise music and a traditional bluegrass record on the way.

There's a whole lot going on this year with Danny Barnes on Country Fried Rock, and I'm your host, Sloan Spencer. My guest today on Country Fried Rock is Danny Barnes, a country fried rock alum from several years ago, following his record Pizza Box.

But, boy, has a lot happened since. Welcome.

Speaker B

00:00:40.100 - 00:00:41.780

Hey, Sloan. How are you guys doing?

Speaker A

00:00:41.780 - 00:00:46.340

Doing great. What an amazing, incredible year for you.

Speaker B

00:00:46.660 - 00:00:48.900

Yeah, I've been kind of busy, kind of wacky.

Speaker A

00:00:48.980 - 00:01:00.500

I first read about the Steve Martin Prize with the excellence in banjo and bluegrass, and I thought, what an amazing thing. And that was the first that I had heard about it.

Speaker B

00:01:01.380 - 00:02:04.200

Yeah, he's a pretty smart fella, and he's kind of figured out a way of. I don't know, it's pretty invigorating for artists, you know, to get a little bit of help and a little recognition.

If you kind of give someone that's a creative person a little bit of help, they tend to do interesting things with it and stuff. And he's a fan, a real fan of banjo. He just likes banjos and banjo music. And I don't know, he's pretty. Seems to be pretty obsessed with it and stuff.

And so him and I have a lot in common in that regard, I guess. But I think what he's doing is pretty smart, and it's really interesting that he would do that.

And the people that have won have been really different kinds of different. All different kinds of players. And then the folks he has on the board represent a lot of different kinds of players, too, like J.D. you know, J.D.

crow is one of the guys and all different people and stuff. It's real interesting. I don't know, I just think he's a.

He's a super smart man, and he's really figured out a way to give back in a pretty powerful way, you know, So I know my hat's off.

Speaker A

00:02:04.200 - 00:02:11.440

To him, you know, it's incredible. And the prize also comes with some significant financial support. What is that allowing you to do?

Speaker B

00:02:11.920 - 00:02:53.330

Well, a lot of things. One is, I've just got a lot of music that I've written that I haven't really been able to sort of commit to either tape or paper. Because I've been.

I have to work really hard, and I do, you know, 120 days a year, whatever, touring. So I'm out a lot and I have to work really hard. I put out a lot of recordings and I work really hard because I'm pretty far underground.

And so I have some projects that I sort of haven't really been able to finish because I've been working really hard on just trying to, you know, just keeping my business going and stuff. And so that kind of gives me a little breathing room on that. One of them is I've never really done like a straight up banjo record.

Speaker A

00:02:53.570 - 00:02:54.130

Yeah.

Speaker B

00:02:54.450 - 00:03:55.170

And I've been talking to some people about doing that.

And I'm excited about going to Nashville and getting some kind of straight up a team bluegrass player guys and just do just a straight up banjo record. You know, like, left to my own devices, I tend to blend like American music with like 20th century art or whatever.

You know, I compose music and noise music and things like that is what I'm interested in. And so I've never really made just a straight up banjo record. But I've been working on that stuff since 1971, which is 43 years or whatever.

So I've been working on it a long time, but I've never put any of that out. So I've been talking, been working on getting that done. And I have several different things I'm working on.

One is I have this suite of music that it's serial music or 12 tone music for banjo and tuba. It's like the most maligned instruments in the history of the world.

That has the most jokes about them, but some heavy music for those two instruments, which I thought would be kind of an interesting juxtaposition.

Speaker A

00:03:55.490 - 00:03:55.970

Cool.

Speaker B

00:03:56.130 - 00:04:36.160

And I've been working on that. I have a couple pieces done, but I need a little bit of time to finish it and record it and everything. And it's gonna help me do that this winter.

And I'm excited about that. And just things like that just. I don't really know. My response to everything is just make stuff.

So I don't know, it's like I don't really have a plan B. It's just. I just. Whatever happens, I just make something, I don't know, in response or whatever, as a.

As an answer to or to ask a question or whatever. I just tend to like make something so I don't really know what else to do. I'm like just a valve, you know, it just only does one thing or something.

Speaker A

00:04:37.200 - 00:04:51.980

Hey y', all, this is Sloane Spencer, the host of Country Fried Rock. We've had an incredible year with more finding us on the radio and our podcast than we ever imagined. Thank you all so much.

Careful what you wish for, you just might get it.

Speaker B

00:04:52.220 - 00:04:55.660

Hey, this is Danny Barnes and I'm on Country Fried Rock.

Speaker A

00:04:55.820 - 00:05:12.700

Well, I've followed you in social media for a long time and seen you play live many, many times. You do a lot of different things that I'm fascinated by. So you also have these cassettes that you hand do the covers for.

But then I think there's maybe more an official approach to some of these cassette releases.

Speaker B

00:05:12.700 - 00:08:22.500

Now sometimes I have them made, you know, depending on what I do. And I put out some cassettes on other artists too.

I have this little label that I run called Minner Bucket Records, which is M I N N E R Minner Bucket Records. And we have a bunch of stuff on our site that listeners can just stream for free and listen.

But I put out tapes on some other people that I like, friends of mine, and stuff that I think is interesting and needs to be heard. And I put out tapes of my own music. And sometimes if I gonna do like this one tape that I make called Barnyard Electronics, which is kinda like.

It's like the basic sort of palette of my, sort of my aesthetic, Barnyard Electronics on a cassette. And I have that going in perpetuity, that's not a fixed number.

But sometimes I'll do tapes where I just do like a hundred of them signed and numbered and they're sequentially numbered and everything and I'll hand draw the covers and all that. In that case, if I'm gonna make 100 of them or 200 of them, I'll. I'll have them duplicated. And if I.

For this particular run though, we were kind of up on it really close and I kind of had to crank them out. So I just made them at home. I just dubbed them at home. I just sat in front of two tape decks and just dubbed them off.

It took about three days to do it.

I made 50 copies and I just sat there and did them all by hand and just sat there and looked at those VU meters for about three 12 hour days or something. It took a long time, plus recording it and mixing it and mastering it. I mean that took like about a week probably. But I don't know.

I do these projects. I'm kind of like, I. I do like our first thing we did on did on Minter Bucket Records was a series of CDRs.

And there was a hundred of only 100 made, but every one had different music on it. And I'll have one name called the Pathos of Smack, which is a title I got from a Charles Dickens novel, Nicholas Nickleby.

But I did, I had 100 and they all had hand drawn covers. Like I'd take like a. Like a cereal box and cut it up and draw things on it and that would be like the COVID or whatever.

And I made a hundred of them and they were all different, you know, I sold them for $25 a piece and it took a lot of work, just a little bit of time. I had $2,500 free and clear. And it was like, whoa, man, this is pretty cool.

You know, because in music it's really hard to get actually get the money in the bank, you know, it's like you can spend so much time on your press releases and social media and manufacturing product and setting up tours, talking to people and legal stuff and setting up your publishing and doing. You can easily spend 50, 60 hours a week and never actually put a penny in the bank, you know. And that was like about the year 2000 or 1999 or so.

That's when it was like that was way before all this stuff was really happening. People doing self publishing back then, it wasn't really.

That wasn't what people were thinking about, you know, but it certainly turned on a little 40 watt appliance bulb in my head and sort of it interested me because it was something that I just did it directly to my fans and it was something that was super creative on an artistic level and it went straight to people that were really interested in music. And it was a lot of work though. If you can imagine a hundred different records, it was a lot of work, but it was fun.

Speaker A

00:08:23.140 - 00:08:44.780

You're constantly creating on so many different levels, I guess. I saw you play last live maybe a year ago and that was the first time that I had seen the app. I don't know if app isn't the right word.

You had made a program on your computer. We're making noise music. I don't even know the right terms to use, but it was the first time I had seen you perform in that kind of capacity.

Speaker B

00:08:45.420 - 00:09:58.980

Nice. I had to kind of figure out like programming and building programs because I couldn't find what I wanted. So I had to make it.

It was pretty good to do that because that launch opened up a whole new like world for me, was learning about programming and stuff and something. Something I Didn't really. I use computers a lot of my work, like in the office, respect or whatever and certain things.

But for recording, my training is actually in audio stuff. I use computers, obviously, a lot for that, but I never really created a platform for audio manipulation.

And it took about two years really, probably to get it where I kept tweaking it and having to play live with it and see, and then it would screw up and I'd go home and rebuild. Took a long time, you know, to test it where I could. And then, you know, I got where I could play.

Like, I did open up a show at Red Rocks for some friends of mine. There was. I don't know, there's probably 7,000 people there, but I could walk out there and do a set with my computer. And it was real solid.

And I got my stability up and got it really reliable and stuff like that. And I'm rebuilding. I'm constantly rebuilding it. And I'm starting on another version of it now. And I kind of been tweaking on that.

Speaker A

00:09:59.220 - 00:10:03.740

Is that something that you would like to collaborate with friends on, or is that more your way of seeing it?

Speaker B

00:10:03.740 - 00:13:22.580

It's kind of my thing, you know, Like, I like manipulating the banjo and making these kind of soundscape things. I feel like it's like something I have to offer artistically.

If you take commerce completely out of the picture and you're just talking about what does this guy do that's interesting or something.

Like, for me, making something that wasn't there before is kind of interesting, you know, I mean, I get known for songs and for playing the banjo and playing on people's records and things like that.

I think just my typical fan knows me more from that respect because I played on some record that they like, or maybe one of my songs or something was on a TV show they liked or they liked a song or something like that or whatever, or one of their friend or a band that they're into plays one of my songs or whatever and. But this is like something that I feel like is kind of like my own little tableau, so to speak, to create, you know, and things. And it's.

It's really invigorating and it's not really for everybody because it's kind of like a hybridization of various kinds of musics.

But I feel like, you know, I'm pretty driven about it and I really like it and it's really creative and it's kind of cool because, like, you can bend it and morph it sort of on the spot. Kind of like the way a DJ works, you know, you can kind of bend things in the moment.

And some people think of electronics as being real static kind...

Summary

This week in 2015, we're diving into a great conversation about the New York City-based band Hollis Brown. Front man and lead songwriter Mike Montali shares how independent record labels have been key to their journey, especially when it comes to getting them into industry events that led to some pretty major touring opportunities.

We also talk about how the band’s sound has evolved, with their upcoming album 3 Shots showing a real shift in style. It’s got a more polished production compared to their earlier stuff, and you can really hear the growth. Mike opens up about what it was like working in the studio with producer Don Diego, and all the behind-the-scenes effort that went into bringing this new project to life.

Throughout the chat, we touch on the power of music to transform, not just for listeners, but for the artists themselves, and how Hollis Brown stays true to their creative vision.

Show Notes

• We catch up with Hollis Brown, the NYC-based band known for blending garage rock roots with evolving, more refined sounds.
• Lead songwriter Mike Montali shares how the band's sound has grown, from the raw energy of their debut Ride on the Train to the polished production of their upcoming album 3 Shots.
• Mike talks about intentionally moving away from their earlier, grittier style to explore a more immersive and layered sound.
• A big part of that shift came from working with producer Don Diego, whose quiet studio in the Poconos offered the perfect space for deep creative focus.
• To get 3 Shots just right, the band sifted through more than 50 songs, narrowing it down to 10 tracks that best represented their current direction.
• That careful selection process reflects their dedication not only to songwriting, but also to creating a cohesive album experience.
• Mike also talks about how independent record labels have played a vital role in supporting the band, giving them both credibility and the chance to reach broader audiences through tours and industry connections.
• Speaking of tours, Hollis Brown has some big plans, including hitting the road with Counting Crows and Citizen Cope, an exciting step forward in their growing career.
• Mike reflects on the power of touring, the energy of live shows, and the bonds built with other artists along the way.
• The conversation wraps up with Mike sharing his excitement for connecting with fans and getting Three Shots out into the world.
• Overall, the episode is a deep dive into Hollis Brown’s artistic journey, highlighting their resilience, creative growth, and unwavering commitment to authentic music-making.

Here's What We Wrote Back in 2015

Hollis Brown rocked CMJ & SXSW so hard that they ended up on this summer’s tour with Counting Crows and Citizen Cope. The NYC band, fronted by songwriter, Mike Montali, tours extensively in the US and Europe, building audiences who yearn for their new albums, including their brand new one, 3 Shots, out 5/5/15 on Jullian Records.

Buy Hollis Brown’s music here.

Takeaways

• In this episode, Mike Montali, lead songwriter for Hollis Brown, opens up about the band’s creative journey and how their music has evolved over time.
• Their new album, 3 Shots, marks a big step forward in both sound and production, showing how far they’ve come since their early garage rock days.
• Mike talks about how independent record labels have been a huge part of their success, helping them get into the right rooms and onto bigger stages.
• The band recorded 3 Shots in a quiet, tucked-away studio in the Poconos, an ideal spot for staying focused and experimenting with their sound.
• One key part of their process? Road testing songs live before heading into the studio. It helped them narrow things down to the best of the best for the album.
• Hollis Brown is also feeling the love from their growing fanbase, and they’re excited about how that support continues to open new doors for them.

Links

• Hollis Brown
• Hollis Brown on Bandcamp
• You may also like this conversation with Lilly Hiatt
• After you buy music from these musicians or see a show, we would love your support with a few bucks in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Mentioned in this Episode

• Hollis Brown
• Counting Crows
• Citizen Cope
• Julian Records
• Don Diego
• Adam Landry
• Jesse Mallon
• Black Keys
• Iggy Pop
• Kieran Kelly
• Converse
• Velvet Underground
• St. Paul and the Broken Bones
• Replacements
• Big Star
• Nikki Lane
• John Agnello
• Drivin n Cryin

Recommended If You Like

Hollis Brown, Country Fried Rock, independent record labels, Mike Montali, new album Three Shots, music evolution, touring with Counting Crows, music production process, indie band interviews, songwriting journey, vinyl records, music industry events, artist-friendly labels, Pledge Music, creative collaborations, Nashville music scene, live band recording, European music tours, Americana music festivals, record release strategies

Transcript

Speaker A

00:00:00.160 - 00:00:24.080

This week on Country Fried Rock, we're talking with Hollis Brown, a band out of New York City.

Their lead songwriter, Mike Montale, shares with us how they've benefited from the support of independent record labels, as well as playing industry events that have led to large tours. It all starts with making great music, and that's the brand new album from Hollis Brown called Three Shots today on Country Fried Rock.

Speaker B

00:00:24.240 - 00:00:32.130

My guest today on Country Fried Rock is Mike Montale of Hollis Brown with a new record coming out May 5th called three shots. Welcome.

Speaker C

00:00:32.370 - 00:00:33.610

Hey, thanks for having me.

Speaker B

00:00:33.610 - 00:00:41.810

I followed your band for a while, and as I've listened to the different records, your sound has been evolving. What's happening for Hollis Brown?

Speaker C

00:00:42.050 - 00:01:32.350

Yeah, we're definitely evolving, that's for sure. I mean, I think every great band does evolve. You know, we don't want to make the same record over and over again. Definitely.

People noticing an evolution in the. In the records is kind of cool. I think means we're doing what we set out to do.

First record was Ride on the Train, which we put out 2013, and that was kind of more of a garage rock vibe, just like us in a home studio of our producer Adam Landry, in Nashville. And we just set up for, like, 10 days in his studio, like, in a circle pretty much, and just played everything live and, like, raw.

And we wanted to do that record that way because it was our first crack at it, and we wanted to record that way because that was the band we were.

But this one, we wanted to evolve a little bit and produce it a little more and really dive into the recording process more than we did on the first record. So it's definitely an evolution.

Speaker B

00:01:32.590 - 00:01:38.190

So you mentioned bringing in some different things to the productions with Three Shots. Tell me a little more about that.

Speaker C

00:01:38.270 - 00:02:25.920

Yeah, we recorded it with Don Diego, the producer, on this record, and we went to his studio as a house in the Poconos in Pennsylvania, and it's really, like, in the middle of nowhere. There's nothing around it at all. We went there, and we just pretty much sat and in his house for, like, two weeks.

We didn't leave, and we just focused on the music. We set it up in his living room as a live band, and we tracked a lot of the instrumentation there. But then we went back and we redid.

For the first record, all the vocals were live in the same room with the band.

This record, we tracked the vocals, and we did the vocals separately, and we did some guitars separately and a little more of a modern style of recording onto Pro Tools. And the whole nine than the original than Right on the Train was. So it was definitely a. We try to up the production quality on this one.

And I think you can hear that.

Speaker B

00:02:26.000 - 00:02:27.360

How did y' all connect with Don?

Speaker C

00:02:27.760 - 00:03:38.700

Don produced a friend of ours named Jesse Mallon, and we went on tour with Jesse in the uk And I asked Jesse, you know, we're trying to make a record. Well, what happened was we got asked to do something for Record Store Day last year, which was a Velvet Underground cover record.

So we did a bunch of Velvet Underground songs for Record Store Day, and it was like only 500 copies made available. It was just like a cool niche, just a fun project to do. And we had a tight recording schedule. We had to do it all in two days.

So I asked Jesse if he knew anybody, and he recommended Don.

So we did that record with Don, and then we felt with this record, we should go again with Don, since he did such a great job with the Hollis Brown Gets Loaded record. You know, we're friends, so we're all friends in New York City. And so it worked out.

Relationships, like, they take time to really feel comfortable, especially when recording and stuff.

You know, you got to really all have the same vision and, you know, because one thing could throw it off if a producer you're not feeling comfortable with, you're feeling forced, you're not feeling the soul or, you know, the performance or everything can go it off. But we just felt really comfortable with Don, and we were really comfortable as a band after being on the road for most of 2014.

So we just felt like it was the right time and right place, and we're all really proud of the record.

Speaker B

00:03:39.100 - 00:03:41.660

Do you all road test those songs before recording?

Speaker C

00:03:42.220 - 00:04:28.310

Yeah. You know, you take your whole life to write your first record, and then you have like two years to write the next record.

So we, Homie and John, we've been friends since high school, so we've known each other quite a while. And we've written so many songs together. And we just wrote about 50 songs or 60 songs.

And the thing about the first album, Ride on the Train, was we had all these songs. We went in and we recorded that. And then we had a year before the album even came out. And then it's been two years since then.

So we really had like three years to nail down a bunch of songs that he's written or I've written or we wrote together. And then we just took them all to the band, you know, at least 50 songs. And then we took it to Don and then we pared that down to about 20 songs.

And then from there we try to demo them and see what's going on. And then we recorded 12 of them, and then 10 made the record. It was a process, you know.

Speaker A

00:04:28.310 - 00:04:37.430

Hey, y', all, this is Sloan Spencer, the host of Country Fried Rock. We've had an incredible year with more people finding us on the radio and our podcast than we ever imagined.

Speaker B

00:04:37.670 - 00:04:40.070

Thank you all so much.

Speaker A

00:04:40.310 - 00:04:43.110

Careful what you wish for, you just might get it.

Speaker C

00:04:43.190 - 00:04:59.650

Hey, this is Mike from Hollis Brown on Country Fried Rock. I think it's all time and place.

You know, we weren't too rushed to have this album done or any schedule, so we really took our time and made sure we all believed in the songs first and foremost, and we believed in the way we were going to record it and came out really good.

Speaker B

00:04:59.970 - 00:05:06.450

I know that y' all were on the road heavily during 2014. What is that looking like for you all with the new record coming out?

Speaker C

00:05:06.850 - 00:05:53.390

Oh, yeah, we're going to be on the road quite a bit, actually. The new record comes out May 5th. We'll be. We're actually going to be on tour with the Counting Crows this summer.

It'll be us, Citizen Cope and the Counting Crows. We're doing 40 cities in the United States, and then we're going to go to Europe after that and headline in Europe for a month.

So we'll be on the road for about four months, probably promoting the new record. Yeah, I love it over there. We went there last year as well. I think we did 31 shows in, like, 32 days in about nine countries.

So kind of a whirlwind experience. But, you know, it's. It's such a cool vibe out there, and everybody's supportive of rock music, and we just love seeing bands actually play.

You know, sometimes in the States you don't get that vibe Die Hard as you do out there. So it's not. It was nice.

Speaker B

00:05:53.550 - 00:05:55.230

Well, so how did that connection come about?

Speaker C

00:05:55.710 - 00:06:39.130

We put Right on the Train out with a live natural sound record, and I think it just started taking off, and I think the label has a natural following in Europe. So we had some pretty good press and some pretty good attention just from putting it out with them.

And then it started to take off in the Netherlands and a couple other countries. So we. We had some festivals and we got a booking agent out there, and we just did it the old fashioned way and started tour out there to build it.

But we went out there three times, so we went out there twice last Year once was with Jesse Madeline where we just did the UK for two weeks and then the other one was months tour, five week tour or something like that. So we just kind of built it, you know, we got some good press and started seeing that people were buying the record.

So we went after it and went out there and started playing.

Speaker B

00:06:39.450 - 00:06:42.490

What does an indie label like that bring to a band like yours?

Speaker C

00:06:43.130 - 00:07:14.410

Can only speak for us, but it brought us some validity. They're really taste makers.

Especially alive is in terms of that style of music, especially for a band coming out with their first album, you know, instead of doing it ourselves.

The fact that we had a record label that's been out for 20 years, that's put out the Black Keys and Iggy Pop and a bunch of other bands that people know, I think it just gave us some validity and it gave us some credibility and it gave people definitely in Europe, it was just a reason to say, oh, they must be worth a listen, you know, if these guys are putting it out. That really did help us this time around.

Speaker B

00:07:14.650 - 00:07:16.890

You all are doing some things a little bit differently.

Speaker C

00:07:16.970 - 00:09:05.170

Started doing the record with pledge music because, you know, we wanted to make the record that we wanted to make and that we felt was right and we wanted to keep the audience that we built, you know, involved in what we're doing. So we wanted people to say, hey, this is us right now working on this song in the studio. Check it out.

And pledge music is cool because it's like a crowdsourcing site, but you can really take part in the process of the record. So you see it from start to finish. You can watch it on the website, you know.

So we did that to fund the recording so we can make the record we wanted to and how we wanted to and have it sound how we wanted to.

And once we had the record in hand, it's coming out now on Julian Records, which is a label based out of New York City and they're kind of a very artist friendly label. So basically they let you make the record you want and the album cover and everything.

You basically present them with a finished product and then you work hand in hand on the best strategy to get it out with our management, start the cycle how you want it to. You can hire whoever you want for pr, for radio, for this, that or the other thing.

So it's really, it's not like you're just in some mass machine that's already established and they just throw you in there whether or not you fit. You know, it's really artist Friendly. And they pick who works with each artist very specifically based on the record you make.

For us, it worked out, and we're really happy with it.

And I think in an artist at our band, our size, the size we are now, you know, we couldn't have asked for a better, more ideal situation to launch the new record, because sometimes if you're on a major label, you know, you're a small fish in kind of a big pond, and they already have their wheels in motion, and they work with the same people all the time who might not get the record you made, you know, might be more chances for not the best bang for your buck, so to speak.

So I think with Julian, it really gave us an opportunity to first and foremost be creative and also try and get the music heard the way we wanted it to be heard, you know?

Speaker B

00:09:05.490 - 00:09:08.930

Well, so you mentioned album art. How did you all make those decisions?

Speaker C

00:09:09.970 - 00:09:51.070

Well, we called a guy named Jeffrey Crowe, who did our first record. He's a live records go to guy for album art and friends with him.

So we were looking for artists to make the record, and I called Jeff and I said, hey, Jeff, you know, we want to do something called Three Shots. Soon to be wife said, you know, it'd be a really cool album cover. Would be if you just have a bullet look like it went through the whole.

The whole album, you know, so, like, to be the front is bullet hole, and then on the back is like the exit hole, you know, so. Wow, that's kind of really cool.

So I told Jeff about that idea, and he kind of sent over four or five different looks and kind of just picked the one we wanted and then showed it to the label, and pretty easy.

Speaker B

00:09:51.550 - 00:09:54.910

And you've got some vinyl to really appreciate that art with.

Speaker C

00:09:55.490 - 00:10:07.650

Yeah, yeah. Well, that was the thing that struck me, because once she said it out, like, yeah, on a vinyl, you know, that would look so cool.

Just you see one side, and you turn the vinyl over, and it just looks like a bullet hole through a record. That would be really cool.

Speaker B

00:10:08.210 - 00:10:12.050

What did that creatively allow you all to do with liner notes, et cetera?

Speaker C

00:10:12.770 - 00:10:44.680

Well, you definitely put more into the vinyl, you know, this time I wanted the art to be a little more minimal, one cool image that...