Country Fried Rock

Summary

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

Chapters

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

Show Notes

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

Takeaways

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

Links

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.800 - 00:00:16.520

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

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

Speaker B

00:00:16.520 - 00:00:17.760

Thanks. Thanks for having me.

Speaker A

00:00:17.840 - 00:00:21.200

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

Speaker B

00:00:21.520 - 00:00:40.320

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

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

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

Speaker A

00:00:40.560 - 00:00:42.840

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

Speaker B

00:00:42.840 - 00:00:53.040

Well, that's not true.

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

Speaker A

00:00:53.360 - 00:00:56.880

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

Speaker B

00:00:57.930 - 00:01:16.090

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

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

Speaker A

00:01:16.330 - 00:01:24.490

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

Speaker B

00:01:24.900 - 00:01:45.940

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

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

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

Speaker A

00:01:46.100 - 00:01:51.510

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

Speaker B

00:01:51.750 - 00:02:33.780

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

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

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

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

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

Speaker A

00:02:33.780 - 00:02:41.620

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

Speaker B

00:02:42.020 - 00:03:05.920

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

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

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

Speaker A

00:03:06.400 - 00:03:09.600

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

Speaker B

00:03:09.600 - 00:03:42.290

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

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

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

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

Speaker A

00:03:42.530 - 00:03:50.520

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

Speaker B

00:03:50.520 - 00:03:55.840

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

Speaker A

00:03:55.840 - 00:03:59.160

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

Speaker B

00:03:59.400 - 00:04:14.000

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

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

Speaker A

00:04:14.000 - 00:04:14.600

Oh, wow.

Speaker B

00:04:14.600 - 00:04:36.920

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

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

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

Speaker A

00:04:37.160 - 00:04:43.400

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

Speaker B

00:04:43.890 - 00:05:11.170

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

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

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

Speaker A

00:05:11.550 - 00:05:19.390

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

Speaker B

00:05:19.790 - 00:06:25.050

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

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

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

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

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

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

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

Speaker A

00:06:25.050 - 00:06:29.890

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

Speaker B

00:06:30.290 - 00:07:33.200

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

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

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

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

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

Speaker A

00:07:33.360 - 00:07:39.200

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

Speaker B

00:07:39.280 - 00:08:31.710

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

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

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

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

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

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

Speaker A

00:08:31.710 - 00:08:38.410

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

Speaker B

00:08:38.570 - 00:08:53.770

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

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

Speaker A

00:08:53.850 - 00:08:54.570

I'm going to.

Speaker B

00:08:54.650 - 00:09:28.510

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

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

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

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

Just trying to do right by the song.

Speaker A

00:09:29.080 - 00:09:37.560

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

Speaker B

00:09:37.960 - 00:11:26.700

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

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

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

Summary

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

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

Show Notes

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

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

Musical tastes? All over the map:

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

A walk through her songwriting journey:

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

Behind the scenes with the band:

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

The real talk:

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

What listeners walked away with:

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

Chapters

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

Takeaways

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

Links

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.800 - 00:00:13.600

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Margo Price of Buffalo Clover.

Speaker B

00:00:14.000 - 00:00:15.360

Hi, Sloan. It's Margo.

Speaker C

00:00:15.600 - 00:00:18.000

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

Speaker B

00:00:18.080 - 00:00:18.720

Thank you.

Speaker C

00:00:19.200 - 00:00:21.360

How did you learn to play music originally?

Speaker B

00:00:21.760 - 00:01:30.810

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

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

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

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

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

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

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

Speaker C

00:01:31.120 - 00:01:37.760

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

Speaker B

00:01:38.160 - 00:02:30.190

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

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

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

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

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

Speaker C

00:02:30.590 - 00:02:33.390

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

Speaker B

00:02:34.030 - 00:03:05.900

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

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

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

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

Speaker C

00:03:06.540 - 00:03:10.620

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

Speaker B

00:03:11.100 - 00:04:54.020

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

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

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

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

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

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

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

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

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

Speaker C

00:04:54.420 - 00:05:01.540

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

Speaker B

00:05:01.860 - 00:05:51.510

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

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

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

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

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

Speaker C

00:05:52.630 - 00:06:02.350

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

Speaker B

00:06:02.350 - 00:08:09.960

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

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

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

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

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

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

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

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

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

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

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

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

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

Speaker C

00:08:10.440 - 00:08:17.240

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

Speaker B

00:08:17.640 - 00:09:57.050

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

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

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

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

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

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

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

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

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

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

Speaker C

00:09:57.130 - 00:09:58.970

The creative versus the business end.

Speaker B

00:09:58.970 - 00:10:10.970

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

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

Speaker C

00:10:11.130 - 00:10:19.530

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

Speaker B

00:10:20.080 - 00:10:59.700

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

Summary

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

Chapters

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

Show Notes

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

Takeaways

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

Links

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.800 - 00:00:12.320

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

Speaker B

00:00:12.320 - 00:00:34.650

Sloane, thank you very much.

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

Speaker A

00:00:34.970 - 00:00:38.170

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

Speaker B

00:00:38.330 - 00:01:31.180

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

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

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

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

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

Speaker A

00:01:31.180 - 00:01:38.660

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

Speaker B

00:01:38.660 - 00:03:25.360

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

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

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

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

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

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

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

I was. Now that is something to do.

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

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

Speaker A

00:03:25.990 - 00:03:27.750

So when did you learn to play an instrument?

Speaker B

00:03:27.910 - 00:04:14.680

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

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

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

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

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

Speaker A

00:04:14.920 - 00:04:17.400

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

Speaker B

00:04:17.640 - 00:05:06.250

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

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

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

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

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

Speaker A

00:05:06.250 - 00:05:09.090

But somehow you end up writing for the band.

Speaker B

00:05:09.330 - 00:06:04.890

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

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

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

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

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

Speaker A

00:06:05.290 - 00:06:08.330

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

Speaker B

00:06:08.490 - 00:08:07.310

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

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

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

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

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

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

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

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

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

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

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

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

Speaker A

00:08:07.310 - 00:08:09.549

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

Speaker B

00:08:09.549 - 00:08:11.950

All spiritual, not necessarily religious.

Speaker A

00:08:12.030 - 00:08:15.470

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

Speaker B

00:08:15.630 - 00:09:17.810

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

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

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

We make a big deal.

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

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

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

Speaker A

00:09:17.970 - 00:09:19.410

That doesn't surprise me at all.

Speaker B

00:09:19.870 - 00:09:43.310

We have really.

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

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

Speaker A

00:09:43.310 - 00:09:50.430

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

Speaker B

00:09:50.800 - 00:10:24.310

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

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

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

Speaker A

00:10:24.630 - 00:10:42.310

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

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

Summary

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

Show Notes

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

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

The convo bounces around from:

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

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

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

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

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

This episode is a celebration of:

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

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

Chapters

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

Takeaways

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

Links

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.800 - 00:00:11.920

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

Speaker B

00:00:11.920 - 00:00:13.200

Thank you so much for having me.

Speaker A

00:00:13.200 - 00:00:19.840

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

Speaker B

00:00:20.000 - 00:00:21.520

Very nice. I enjoyed it.

Speaker A

00:00:21.600 - 00:00:22.400

You've been busy.

Speaker B

00:00:22.400 - 00:00:23.120

Trying to be.

Speaker A

00:00:23.280 - 00:00:25.840

What sort of adventures did you have over that trip?

Speaker B

00:00:26.000 - 00:01:22.670

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

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

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

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

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

Speaker A

00:01:22.910 - 00:01:25.070

You drive a lot? Not just for touring.

Speaker B

00:01:25.230 - 00:01:36.030

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

Speaker A

00:01:36.670 - 00:01:42.830

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

Speaker B

00:01:42.990 - 00:03:22.930

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

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

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

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

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

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

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

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

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

Speaker A

00:03:23.090 - 00:03:28.050

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

Speaker B

00:03:28.480 - 00:04:14.140

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

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

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

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

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

Speaker A

00:04:14.140 - 00:04:15.580

What were you listening to back then?

Speaker B

00:04:15.740 - 00:04:38.970

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

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

And probably a lot of classic rock too.

Speaker A

00:04:39.370 - 00:04:52.650

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

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

Speaker B

00:04:53.110 - 00:06:16.510

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

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

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

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

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

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

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

Speaker A

00:06:16.510 - 00:06:30.190

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

Speaker B

00:06:30.350 - 00:07:42.410

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

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

Come from your heart.

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

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

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

Speaker A

00:07:42.660 - 00:07:56.580

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

Speaker B

00:07:56.980 - 00:08:51.340

It can be.

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

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

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

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

Speaker A

00:08:51.500 - 00:08:56.380

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

Speaker B

00:08:56.780 - 00:11:50.040

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

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

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

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

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

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

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

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

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

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

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

Summary

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

Show Notes

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

Links

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

Chapters

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

Takeaways

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

Mentioned in this Episode

• Donna the Buffalo
• Sugar Hill Records
• Larry Campbell

Recommended If You Like

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

Transcript

Speaker A

00:00:00.320 - 00:00:18.240

Welcome to Country Fried Rock where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today is Tara Nevins of Donna the Buffalo on her solo effort Wood and Stone.

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

Speaker B

00:00:18.240 - 00:00:19.440

Well, thanks for having me.

Speaker A

00:00:20.000 - 00:00:21.760

How did you learn to play as a kid?

Speaker B

00:00:22.080 - 00:02:23.480

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

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

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

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

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

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

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

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

Speaker A

00:02:23.480 - 00:02:23.960

Yes.

Speaker B

00:02:23.960 - 00:04:01.390

And that was really inspirational to me.

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

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

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

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

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

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

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

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

Speaker A

00:04:01.470 - 00:04:13.370

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

Speaker B

00:04:13.690 - 00:04:44.650

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

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

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

Speaker A

00:04:44.730 - 00:04:47.210

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

Speaker B

00:04:47.450 - 00:05:28.630

Yeah, no, absolutely. Absolutely no.

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

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

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

Speaker A

00:05:28.790 - 00:05:31.990

I wondered what led to covering Stars Fell in Alabama.

Speaker B

00:05:32.070 - 00:06:34.590

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

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

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

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

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

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

Speaker A

00:06:34.590 - 00:06:42.230

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

Speaker B

00:06:42.650 - 00:07:02.970

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

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

Speaker A

00:07:03.050 - 00:07:03.610

Insane.

Speaker B

00:07:03.610 - 00:07:16.940

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

There never was one in Huntsville in my time.

Speaker A

00:07:17.020 - 00:07:33.020

Right.

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

Speaker B

00:07:33.260 - 00:08:05.080

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

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

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

Speaker A

00:08:05.480 - 00:08:22.730

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

So what was leading you creatively to this solo venture?

Speaker B

00:08:23.450 - 00:08:59.309

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

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

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

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

Speaker A

00:08:59.309 - 00:08:59.589

Right.

Speaker B

00:08:59.589 - 00:14:02.650

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

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

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

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

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

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

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

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

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

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

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

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

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

Summary

From 2012, Adam Remnant from Southeast Engine dives deep into the creative process behind their music, sharing how inspiration strikes like lightning when least expected. He chats with the host about the band's roots in Athens (Ohio) and their journey through the indie music scene, revealing how the blend of personal experiences and diverse musical influences shapes their sound. The conversation flows effortlessly, touching on everything from their social media presence to the dynamics of live performances, where the energy of the audience can make or break a show. They explore the evolution of their songwriting, including the transition from basement jams to studio recordings, and Adam's passion for crafting lyrics that resonate on multiple levels. This episode is a laid-back yet insightful ride into the world of Southeast Engine, showcasing their unique vibe and collaborative spirit.

Show Notes

• Discussion on the band's origins and their Athens roots.
• Insights into how social media platforms like Twitter influence their music outreach.
• The creative process behind songwriting and live performances.
• Exploration of their new album, "Canary," and the dynamics of arranging songs.
• Fun banter about musical influences, including Nirvana and Bob Dylan.
• Creativity often stems from unexpected moments and experiences.
• The energy of live audiences plays a crucial role in shaping performances.
• Songwriting is an evolving process that benefits from collaboration and spontaneity.
• Social media can be a powerful tool for musicians to connect with fans.
• Each album reflects a unique phase in the band's musical journey.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
• Adam Remnant of Southeast Engine still makes music
• You may also enjoy this conversation from 2015 with Kevn Kinney of Drivin n Cryin
• Toss a few in our Tip Jar

Chapters

• 00:00 - Introduction to Country Fried Rock
• 02:57 - The Origins of Southeast Engine
• 10:10 - The Evolution of Live Music Performance
• 14:12 - Creative Processes in Music
• 20:21 - Exploring Musical Influences and Inspirations
• 23:30 - Creative Direction and Album Development

Takeaways

• Southeast Engine's formation story is a classic tale of shared musical passion that blossomed in Athens, Ohio, with roots tracing back to their childhood in Dayton.
• The band members have distinct musical influences, blending folk, rock, and country, which creates a unique sound reflective of their diverse backgrounds.
• Social media plays a crucial role in connecting with fans, especially Twitter, where the band shares updates and engages with their audience in a more casual manner.
• Live performances are dynamic and tailored to the venue's atmosphere, highlighting the band's ability to adapt their energy to different audience vibes.
• The songwriting process for Adam involves a blend of spontaneity and reflection, allowing ideas to develop organically rather than being forced.
• Southeast Engine aspires to explore a more atmospheric sound in future albums, indicating a creative evolution that reflects their growth as artists.

Mentioned in this Episode

• Southeast Engine
• Couch by Couch West
• Three Elliott Studios
• Misra Records
• Judee Sill
• Absolutely Kosher
• Moonjaw Records

Recommended If You Like

Country Fried Rock, Southeast Engine, indie rock podcast, music creativity inspiration, Athens music scene, songwriting process, live music performance, musical influences, folk rock bands, music production techniques, Twitter for musicians, Couch by Couch West, band dynamics, harmonies in music, acoustic instruments in rock, music collaborations, lyrical songwriting, Americana music, live recording techniques, band interviews, Judee Sill

Transcript

Speaker A

00:00:00.320 - 00:00:08.560

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

Speaker B

00:00:08.560 - 00:00:11.640

Yeah. Hi, this is Adam Remnant from the band Southeast Engine.

Speaker A

00:00:11.640 - 00:00:12.760

Hey, Adam. How are you?

Speaker B

00:00:12.760 - 00:00:14.000

I'm doing well. How are you?

Speaker A

00:00:14.000 - 00:00:17.360

I am well, thank you. Are y' all still based in Athens?

Speaker B

00:00:17.520 - 00:00:45.500

We're relatively still based out of Athens. Myself and my brother, Jesse Remnant, who plays bass in Things Harmony in the band, also live in Athens.

And then our drummer, Leo DeLuca, recently moved to Durham, North Carolina, and our keyboard player lives in Morgantown, West Virginia. Leo and I started the band, like, 10 years ago, and we just. Until the last year, we've all lived in Athens, except.

Except our keyboard player, Billy Matheny is from Morgantown, West Virginia. He's always lived there, but the rest of the band's always been in Athens for the most part.

Speaker A

00:00:45.740 - 00:00:52.300

Well, I'll tell you how I found Southeast Engine. And I. You may not know this. I could not go to south by Southwest this year.

Speaker B

00:00:52.380 - 00:00:53.260

Neither did we.

Speaker A

00:00:53.340 - 00:00:58.300

Well, so I ended up finding one of y' all on Couch by Couch west on Twitter.

Speaker B

00:00:58.750 - 00:01:00.750

All right. Yes. Yes, that would be me.

Speaker A

00:01:00.910 - 00:01:02.430

Tell me about your Twitter life.

Speaker B

00:01:03.790 - 00:01:12.910

I recently. I've only recently started to become a fan of Twitter. We've been using Facebook for a while, and recently I've adapted to Twitter as well.

Speaker A

00:01:13.230 - 00:01:17.070

Honestly, Couch by Couch west was the first time I ever got Twitter.

Speaker B

00:01:17.150 - 00:01:17.790

Oh, really?

Speaker A

00:01:17.790 - 00:01:22.590

Well, it's the first time I ever really understood the power of how it's different than Facebook.

Speaker B

00:01:23.150 - 00:01:48.380

Yeah, you know, there is a subtle difference, and I think it's that with Twitter, I feel like with Facebook, if we make updates every day or more than once a day, that it could be sort of annoying to people that, you know, follow our page. But with Twitter, I don't know, it just feels like it can be a little bit more lighthearted or not. Not, as you know, I don't know. It just doesn't.

It seems like you can post more on Quick Little message.

Speaker A

00:01:48.460 - 00:01:52.620

So are you in charge of the Twitter account for Southeast Engine, or do y' all each do your own thing?

Speaker B

00:01:52.780 - 00:02:05.540

I say that I would update the Twitter page and the Facebook page. It's mainly me updating them. And then sometimes, occasionally the other band members will post something, but it's mostly me.

Speaker A

00:02:05.780 - 00:02:06.820

Is that by choice?

Speaker B

00:02:08.340 - 00:02:44.900

I don't know. I just started. I just started doing it. And the drummer, Leo DeLuca, he posts stuff occasionally. It just kind of happened that way, I guess.

I don't really. It wasn't really too deliberate a Friend of mine, he's in a band from Boston called Hallelujah.

The Hills had posted his video that he did for it on Facebook. I saw it, I was like, oh, that's a good idea. And I just got out the little flip video camera and my wife is in the video.

She's the one that's filming it. I just asked her, you can see in the video, me asking her to film it, to do a song for Couch by Couch Bus.

And I did an old time song called Cripple Creek and I played it on banjo.

Speaker A

00:02:45.140 - 00:02:57.080

As I said, that was how I found you all.

So when I then went and researched what you all do as a band, I was like, oh, not quite old time music here, but, you know, that's what I was expecting. How did Southeast Engine form originally?

Speaker B

00:02:57.240 - 00:03:34.820

As early as 1999, me and my brother and Leo DeLuca the drummer, all grew up in Dayton, Ohio, like a suburb right outside Dayton. And then Leo and I went to school in Athens, went to college here at Ohio University. And I don't know, it was a pretty typical story, really.

We just liked a lot of the same music. And he was playing drums and I was starting to write some songs and we just started playing music together. And that's basically it. There's really.

There's really no great tale behind it, but pretty typical. This is Adam Remnant of Southeast Engine. You're listening to Country Fried Rock. You can find us [email protected].

Speaker A

00:03:34.980 - 00:03:36.740

How'D you learn to play music originally?

Speaker B

00:03:36.740 - 00:04:06.710

I think when I was in, like sixth or seventh grade, like 12, 13 years old, me and my other.

One of my other brothers who's not in the band, we grew up, we got really into Nirvana and so Nirvana was breaking and we became obsessed and we both. Our parents bought us both really cheap electric guitars and got us in guitar lessons. And I don't know, we were just completely obsessed. We just.

I've been completely obsessed with rock and roll ever since, and I haven't been the same.

Speaker A

00:04:07.430 - 00:04:09.990

So did y' all have kind of your family Nirvana cover band?

Speaker B

00:04:09.990 - 00:04:19.610

Oh, yeah. We would.

We would do little fake concerts in our bedroom and we'd set up cardboard boxes and pretend they were amps and then smash our guitars into the cardboard boxes.

Speaker A

00:04:20.010 - 00:04:20.570

Awesome.

Speaker B

00:04:21.770 - 00:04:23.930

Oh, yeah. I mean, what a great way to start.

Speaker A

00:04:24.890 - 00:04:31.850

So you say you. You became obsessed with rock and roll ever since. Once you branched out from your Nirvana fandom, where did you head?

Speaker B

00:04:31.850 - 00:05:28.100

Well, I was into other, like, alternative bands like Dinosaur, junior Zebedo, and bands like that. But then There was some Dayton stuff too, like Guided by Voices readers were out there and.

But then as I got a little bit older, I started, you know, exploring more like classic rock, like the Beatles and Bob Dylan. And really I think that's more.

The sound of Southeast Engine is kind of more based on 60s and 70s, you know, rock and roll and folk rock and things like that, Things of that nature.

Growing up with those records, I mean, I just remember, you know, my dad had a copy of the Beatles White album, listening to that when I was in ninth. Somehow I missed hearing the Beatles growing up. And I just remember hearing the Beatles when I was in like ninth grade.

And it just sounded totally bizarre to me.

It actually took me a little while to get used to how they sound, which I think for a lot of people seem strange, but because most people it's just they sound so natural because you heard them growing up. But somehow my parents didn't play it around the house. And so it took me a little while to get used to it.

But then I just became completely obsessed with the Beatles and Bob Dylan.

Speaker A

00:05:28.500 - 00:05:30.900

So what was the music scene like at OU when you were there?

Speaker B

00:05:31.140 - 00:06:12.930

There's sort of two aspects to it. There's the rock clubs uptown, which have a lot of garage rock type bands.

And then when I was first going to school here, there was a lot of jam bands around, which, you know, I like the Grateful Dead and some of that stuff. But I was curious of having Southeast Engine be something different than the garage rock and the jam band scene today.

There's a lot of like indie rock sounding bands in Athens. Each club kind of has its own vibe, you know, like the Union. And there's a lot of rock and roll happening there.

And then there's bars that kind of cater more towards jam ban and things like. But there's also a real like old time music element here. Sort of Appalachian old time music. Not necessarily bluegrass, but old time.

Speaker A

00:06:12.930 - 00:06:13.330

Right.

Speaker B

00:06:13.490 - 00:06:42.510

And there's a couple groups around here that play that music and that influenced us more recently. But I think it was always kind of an influence living here and those sounds just seeping in. Folk music in general, going back to the 20s and 30s.

You can find all our albums [email protected] and you can also find information on the band there. And you can actually read all the lyrics, hear certain songs from each of our [email protected] that was a pretty intentional.

Speaker A

00:06:42.510 - 00:06:47.870

Choice then in terms of a production method. Who had you read about that did it that way that you wanted to emulate I don't know.

Speaker B

00:06:47.870 - 00:07:25.170

Even, you know, most of the Bob Dylan albums are all always recorded live, Even a lot of the Beatles stuff. The basic tracking was recorded live.

And even really, you know, even going back and looking like the Beach Boys, Pet Sounds and Smile sessions, even these really advanced production techniques and arrangements, a lot of the basic tracking was still done with the group. You put the work into that initial live performance, and then you just do the overdub.

I only wanted to overdub stuff that we couldn't do, that we couldn't do in those initial tracks, you know, because we had our hands full.

Speaker A

00:07:25.250 - 00:07:26.370

Who did y' all work with?

Speaker B

00:07:26.450 - 00:07:36.590

We work with a studio here in Athens called Three Elliot Studios, and there's a engineer, slash producer there named Josh Antonuccio. We've been working with him since our first studio album.

Speaker A

00:07:36.910 - 00:07:38.430

That's nice to have that continuity.

Speaker B

00:07:38.590 - 00:07:51.790

Yeah, I just. Josh and us, we speak the same language musically.

I feel like we have the same vocabulary, and he just gets our perspective and where we're coming from and. And he's just a really good friend of ours, so I always feel really comfortable in the studio.

Speaker A

00:07:51.790 - 00:07:56.670

Sure. That goes along well, especially if you're going to be tracking live. That really makes a difference.

Speaker B

00:07:57.260 - 00:08:11.100

Yeah, yeah. And Josh is. You know, Josh has been.

He's sort of been like the fifth member of the band in a lot of ways, and he sort of evolved with us, and, you know, we're always. You know, he'll challenge us and we'll challenge him. You know, it's been a really good relationship.

Speaker A

00:08:11.100 - 00:08:15.260

Do you feel that you have captured the sound you want to capture in your recording?

Speaker B

00:08:15.580 - 00:08:39.750

Yeah, I do. I mean, I. You know, each. I think all the albums that we've done there at 3 Elliott Studios sound great. Each.

Each time we make an album, you always kind of. I don't know what it is, but you always see musicians kind of swinging back and forth with each album, like.

Well, you know, the last time we had the album was really epic and dense, and this time we wanted more space. I don't know. That's just a natural tendency where you want to compensate for what you've done previously.

Speaker A

00:08:39.910 - 00:08:40.310

Sure.

Speaker B

00:08:40.630 - 00:08:49.950

And you just maybe just don't want to repeat the same things, do the same things over and over. But. So I think with each album, we've gone for a specific thing, been able to achieve it.

Speaker A

00:08:49.950 - 00:08:53.290

If someone were to see you live currently, what would they expect?

Speaker B

00:08:53.770 - 00:09:32.300

Well, right now we're doing about at least half of the new album, Canary, and we typically just choose Songs that translate best live. We definitely differentiate between how to work in a studio and how to work in a live setting.

So I think in the live shows, you know, whatever songs from each album have translated the best live over the years. And then we're definitely wanting to pull some from our new material and our new album.

And we definitely play songs from all of our previous albums as well. Typically we try to keep it largely with high energy songs. We do play some quieter ones too. We don't shy away from doing a quiet song.

Try to, you know, reign things back sometimes.

Speaker A

00:09:32.380 - 00:09:34.219

So you do road test new material?

Speaker B

00:09:34.460 - 00:09:58.320

We do sometimes. It just depends. Yeah.

Like we were definitely doing some of the songs from our new album before it came out and I don't know, sometimes that's a good idea, sometimes maybe it's not, but because you're still working out the arrangements and I just feel like sometimes you can practice a song a million times in your basement, but you're really not going to figure out how to play live until you start playing it live.

Speaker A

00:09:58.320 - 00:09:58.720

Right.

Speaker B

00:09:59.520 - 00:10:09.520

I just find that we'll think that we've got it down completely and then you go play live and I don't know, usually it takes a few times in front of an audience for it to really start clicking the way you want it to.

Speaker A

00:10:10.080 - 00:10:17.600

What song off of Canary changed the most from that original, like Play in the Basement to the actual choice of heading into the studio with...

Summary

Back in 2011, we chatted with Aaron Beavers of Shurman. Surprising everyone, they reunited in August 2025 for a number of tour dates.

Sloane kicks things off with a warm welcome to Aaron from the band Shurman, and it's all about that sweet, sweet vibe of creativity in music. Right from the get-go, they dive into the heart of the matter, how music festivals bring artists together, not just for the love of the music, but for the chance to reconnect with old friends and share new tunes. Erin reflects on the joys of making music with pals, highlighting how it’s less about the cash and more about the camaraderie and experiences. They chat about Shurman's latest holiday record, which started as a tongue-in-cheek joke during a scorching Texas summer but turned into a surprisingly successful project. The convo flows from the essence of their musical journey in Austin to the quirky tales of life on the road, making it clear that for these musicians, it’s all about keeping it real and staying connected to their roots.

Links

• REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2011
• Shurman
• You will probably enjoy this conversation from 2015 with Aaron Lee Tasjan
• Toss a few in our Tip Jar!

Show Notes

Diving into the vibrant world of music and creativity, the latest episode of Country Fried Rock brings listeners a delightful chat with Aaron from the band Shurman. The conversation flows like a sweet melody, starting with a nostalgic recount of a recent rendezvous in Nashville, where the duo reminisces about the electric atmosphere of outdoor shows and the camaraderie that music festivals foster. Aaron expresses the joy of jamming with old friends, highlighting the essence of music not just as a profession but as a cherished connection among musicians who rarely get to meet. The discussion unfolds into a nuanced exploration of the challenges faced by artists, particularly the struggle for exposure in an industry that often prioritizes profit over passion. Aaron shares candid insights about the realities of touring life, the financial hurdles, and the sheer joy of performing despite the odds.

As the episode progresses, the conversation takes a fun twist as Aaron reveals the story behind their latest holiday record, which unexpectedly became a hit. What started as a playful idea during a scorching Texas summer evolved into a project that not only showcases Shurman's musical prowess but also weaves in a sense of humor and irony about creating Christmas songs in the heat. The banter between the hosts and Aaron adds a laid-back vibe, making it feel like a friendly hangout rather than a formal interview. The narrative delves deeper into the roots of their music style, with Aaron sharing anecdotes about his punk rock beginnings and the evolution of their sound, blending country, rock, and soulful influences. This episode is not just a glimpse into Shurman’s journey but a heartfelt celebration of friendship, creativity, and the joy of making music.

Listeners will leave with a sense of connection to the artists and a greater appreciation for the stories that shape the songs they love. With a sprinkle of humor and a whole lot of heart, this episode paints a vivid picture of the music scene and the bonds it creates, inviting everyone to tune in and enjoy the ride.

Chapters

00:00 Introduction to Country Fried Rock

04:24 The Birth of a Band

09:48 The Journey of Musical Discovery

20:54 The Journey to Austin: Musical Authenticity and Personal Growth

22:22 The Influence of Austin's Music Scene

Takeaways

• In the heart of Nashville, the vibe of music festivals is all about reconnecting with old friends and sharing creative energy, rather than just chasing the big bucks.
• Aaron from Shurman passionately shares that music is deeply rooted in friendships, and collaborating with old pals is the ultimate creative high.
• The unpredictable journey of creating a Christmas album during a scorching Texas summer led to unexpected musical success, showcasing the magic of spontaneity.
• The rich musical history of Austin has given Aaron a sense of authenticity and confidence that fuels the band's creativity and growth.
• Aaron reflects on how his songwriting has evolved, highlighting the transformative nature of music and how past experiences shape current expressions.
• The camaraderie and support among musicians in Austin creates an inviting atmosphere where creativity flourishes, contrasting sharply with the competitive nature of larger cities.

Mentioned in this Episode

• Shurman
• Blues Traveler
• Mother Truckers
• Blue Shop
• Stonehoney
• Whiskey Town
• Vanguard
• Sustain
• Universal Republic

Recommended If You Like

Country Fried Rock, podcast episode, musician interviews, creative inspiration, Nashville music scene, Shurman band, Americana music, Texas music, music festivals, songwriting process, holiday music, music collaboration, indie music, country rock, live performances, recording studio, acoustic music, music industry insights, musical influences, music promotion

Transcript

Speaker A

00:00:00.800 - 00:00:10.080

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

Speaker B

00:00:10.080 - 00:00:12.080

How you doing? This is Erin from the band Sherman.

Speaker A

00:00:12.320 - 00:00:16.320

Hey, Erin. Thanks a bunch for being with us. I'm so glad I got to meet you in Nashville this year.

Speaker B

00:00:16.720 - 00:00:21.120

What a fun time that was. Wasn't that great? Amh great. I just had such a blast.

Speaker A

00:00:21.520 - 00:00:27.520

Perfect weather, perfect time. Country Fried rock out in Nashville. A little outdoor show of you solo.

Speaker B

00:00:27.880 - 00:00:38.360

Yeah, you know, it was kind of a laugh that popped in with some old friends, and I never turned down, if I can make music with old friends, that's kind of as good as it gets, you know?

Speaker A

00:00:38.680 - 00:00:41.800

You know, that is exactly what music festivals are all about.

Speaker B

00:00:42.120 - 00:01:37.170

You know, it really is, because you're, you know, half a lot of those times the bands that are playing are doing it in order to get exposure. You know, they're not doing it so for the huge payday. And so you're kind of just going, well, okay, I'm eating the show. I'm handling the expenses.

I'm doing this. I'm taking care of himself, which as musicians, have a hard time doing, in case you haven't heard.

Yeah, but, you know, those kind of conversations, you get to meet with all your old friends who are touring all over the country as well, and you don't get to see them except for maybe south by southwest and the AMAs and all the clients and CMJ and, you know, a couple times a year, you'll all get together and you're lucky enough, there's instruments around and everybody gets to play some songs and, you know, not only catch up on what everybody's girlfriends, wives, kids, brothers, sisters, moms and dads are doing, but also, you know, get to catch up musically on whatever it's got coming down, you know, the creative pipeline as far as what's their new song or what's they're excited about and a lot of times, you know, what bands we're kind of all listening to.

Speaker A

00:01:37.170 - 00:01:47.610

You know, it's funny that you say that, because that's actually how I found you. We did an interview a while back with Josh and Teal from the Mother Truckers, and that's how I found Sherman.

Speaker B

00:01:48.010 - 00:02:20.130

Oh, yeah, we love Josh and Teal. They're both. They both make appearances not on the same song, but in separate songs.

Our holiday record that we have, Little Sherman, the holiday album. Oh, cool. She'll sing the song. I always wanted to do a duet with her, so I wrote a song to do with my drummer and bass player, Mike.

And then I also always wanted to have an instrumental, just like full on, you know, guitar, rock, you know, instrumental. And never be able to do that. When you're friends with someone like Josh Z, those kind of things seem a little bit more possible.

Speaker A

00:02:21.650 - 00:02:25.970

So wait, I know that you have other things in the work for 2012. You have a holiday record out too?

Speaker B

00:02:26.330 - 00:04:03.200

Yeah, we just released it last week as a matter of fact. It's been incredibly successful. I mean we've had. It's the most record we've ever sold online of any album we've done.

It's basically we did after we finished our last studio record.

It was kind of as a joke, our bass player said, you know, it was the middle or, you know, end of July, middle of August, when we were wrapping up the new studio record and we were experiencing what was the hottest summer that Texas had ever had and the history of keeping track of temperature. And we had almost like 100 plus days and we just built our new studio and we didn't quite.

One of the last things that we kind of dealt with when we were making the studio was the air conditioning and the how will we cool this thing off? Kind of a two story, like little mini house behind our drummer's house. It's just we call our little tree house. But it was 125 degrees in that studio.

You have to keep the AC off while we were tracking. So there was very much a sense of urgency. We've got to get this or I'm going to pass out.

And as a joke we kind of said the end, like we should make a Christmas record. You know, it's 100 and, you know, 104 degrees, you know, and we're writing songs about like it's snowing outside and all this kind of stuff.

And we were doing it totally tongue in cheek, right. We started like writing these songs, like good. This is a good song, you know.

And so we started recording it and sending some stuff around to our friends. Like kind of jokingly like John Popper from Blue Shop. Yeah, you know, everybody's from Roger Klein, the Peacemakers and Friends in Stone, Honey.

And we ended up thinking, why don't you guys come down and help us make this record. We're gonna just do some original, maybe a couple of choice little covers. Like we did a cover of a band.

I didn't know that the band did a Christmas song, but a fan sent it to us.

Speaker A

00:04:03.200 - 00:04:04.280

I didn't know that either.

Speaker B

00:04:04.520 - 00:04:24.740

Yeah, it's called it's a song called Christmas Must Be Tonight. They actually did a few different alternate takes of it off Kingdom Come record I think it was. And they sent us a copy of the.

Of the song and loved it and we wouldn't actually cut it. Caught the guys from Stonehoney to come in and do some harmony vocals and our. And and Phil from Stonehoney played guitar on it.

So yeah, it was really kind of a cool project.

Speaker A

00:04:24.980 - 00:04:33.380

When I first heard about the band Sherman, I was trying to spell it with an E. And you know we're based in the south and the war is not over yet here.

Speaker B

00:04:34.260 - 00:04:36.020

So I thought exactly why it's with you.

Speaker A

00:04:36.100 - 00:04:40.020

I thought, wow, that's really brave of a Texas band to name themselves Sherman.

Speaker B

00:04:40.020 - 00:06:24.120

Well, it's even crazy because I actually, you know, my high school years and my mother lives in Georgia and so yeah, to have General Sherman as part of your name after what he did in the Civil War, probably not the best marketing. And oddly enough, I mean that's how the name kind of how came about. I mean there's a couple different reasons.

It was like one of those things where the name clicks with me because for a few different reasons in my life I thought of it when I was younger aiming a band Sherman because my mother went to high school in Denison, Texas and their arch rival was the Sherman Bearcats.

And I always thought that would be really funny because at the time I was trying to put together punk bands and if you had a punk band, it didn't offend your parents or at least a really good name. So it was early on that was in junior high when I was putting their punk my skate punk dude. And it's funny enough, I don't remember.

I was talking to a friend of mine, Ben Peeler on the phone and he said we were talking about the super bowl was going on in Atlanta. And he said, you know what they need? They need Sherman to come back through there and melt all that ice. Is this kind of a joke? You know, I was like.

And it was like, you know what that's. And at the time I was. The band was called Blue Train, which is just a horrible name. And even a funnier story is like I basically living in Los.

I got offered a gig.

I was out at the bar and this guy who was like, yeah, I booked a whiskey at Go Go and I just moved to la and I was, you know, like starry eyed trying to put a ban together. I didn't even have a band. And I just said I have a Band I want to come play. There he goes. Great, man. He's like, how about next Friday night?

And he's like, what's the name of the band? And I was looking around the room and there was all these posts, like, all these rock posters everywhere in this bar that we were at.

And there was also this in the corner. It was that John Coltrane poster that said Blue Train on it. Blue Train. And I came to find out later that they were the guys.

Blue Train were the two guys for Baywatch. Wasn't really a really hip maybe.

Speaker A

00:06:24.840 - 00:06:31.080

Yeah, you're cool. When you started your first little skate punk band, were you writing your own stuff then or were y' all covering punk?

Speaker B

00:06:31.080 - 00:07:12.300

Oh, yeah, I was writing, like, kind of got into music through.

I had an English teacher who I always really loved music growing up, but I had an English teacher in, like, middle school who got me into all these poetry contests. Started getting really into that.

It was funny because I was a lost kind of punk kid trying to get into sports and, you know, awkward seventh grade taller guy in my class and doing poetry, you know, I kind of really thought about it. And then I entered a few of these contests and I won one of them.

And I actually got some where I was like, poetry's kind of hokey, but when the songwriting. Now, that's pretty cool, you know, that sounds a chickal. Like, I learned really quickly. Okay, this. All right, I get it. I get it.

The rest is a lot of truck stops and Florida line vans down the.

Speaker A

00:07:12.300 - 00:07:17.620

Road, you know, did you have some musical stylers or specific bands that you were trying to model yourself after?

Speaker B

00:07:17.940 - 00:07:48.400

You know, when I was first coming out, I was into punk rock. I think secretly I wanted to be like, a member of Van Halen, you know, I think everybody did in the early 80s.

And you're living like I lived up in, like, North Dallas.

I just remember a friend of mine's mom took us to go see Van Halen in concert, and I came out with, like, you know, four bandanas tied around my left leg, if that tells you anything. Mom, I think I want to get a sword for Christmas. She's like, a sword? What are you going to do with the sword? I was like, I don't know.

Dave Lee Roth throws one around, looks pretty cool. Seems to get a lot of chicks.

Speaker A

00:07:49.280 - 00:07:51.680

Women will throw their underwear on stage at me, mom, if I do this.

Speaker B

00:07:51.680 - 00:08:08.140

Exactly right, you know, does something. I can't figure it out. I figured out that the results are positive results, but I can't figure out why the sword is doing this.

I didn't get it until I saw, you know, Sami remains the same. Then full circle. Hey, this is Aaron from Sherman on Country Fried rock.

Speaker A

00:08:08.620 - 00:08:14.060

As you were first forming those bands, what kind of music were y' all working on and how did that move to where you are now?

Speaker B

00:08:14.460 - 00:10:56.360

I'd say it was a lot more folk and a lot more country. We had like a stand up bass player at the time and so I was like an air force brat as a young kid.

So I kind of traveled around a lot and my family just in general, you know, Winnebagos and trailers and pop up trailers. And their idea of having a good weekend was going on camp for three days.

And so, you know, the camaraderie of being on the road, it was just something that always just really, really, really, really came, you know, for me. Something I've always loved. Still to this day, I really. It's one of my favorite parts about, you know, being a musician.

But you know, I did a lot of traveling kind of growing up and I think it kind of set me on a path of, you know, wanting to make music. But when I went, right before I moved to Hawaii, I guess there's this long winded circular story here.

I. I had a bunch of friends that were going to be moving out to Hawaii. They were all kind of saving our money.

And what I was actually doing, I was working on them mountain as like a lift off in the summer, you know, like, I just like kind of bailed out of college at Arizona State and I was like, what am I gonna do? I'll go up to Colorado mountains, you know, it's snowing and I've always wanted to do that. So I got a job doing that.

I met a bunch of these crazy, you know, mean guys who are all like kind of getting in this new sport called snowboarding. And everybody was like, you know, it was like a really cool time to be there. A bunch of us had this kooky plan that went to snowman.

So we were gonna save up all the money we made at the resort and, and go to Hawaii. And at the time, my dad was a polyhouse.

I flew for free and said, oh, this will be, you know, I can still come home for Christmas and live there for a while. I ended up going out there for a few years and I only went out with like a few, a handful of records.

And one of those records was the Uncle Tupelo record, you know, the one with the date on it, 1992, whatever. And I just Was over the

Summary

Back in 2011, we chatted with the guys from Dawes. Sloane Spencer kicks things off with an easygoing chat with Dawes, and it’s anything but your average interview. They dig into the band’s musical origin story, tracing it back to a family that didn’t just play music, they lived it. Picture jam sessions in the living room, with dad laying down the soulful grooves that sparked a lifelong love for sound.

As they swap stories of sun-soaked California days and the wild mix of influences that shaped the band’s vibe, one thing becomes crystal clear: collaboration isn’t just part of Dawes’ process: it is the process. They dive into how songs evolve on stage, sometimes turning into something completely unexpected (and even better) than what was captured in the studio.

Sprinkled throughout are laughs about life on the road, local food gems, and the never-ending hunt for a decent cup of coffee. It’s a conversation that proves music isn’t just about the notes; it’s about the ride, the stories, and the people you meet along the way.

Links

• REMINDER: IGNORE ANY LINKS OR DATES MENTIONED IN THE EPISODE
• Dawes
• You may enjoy this conversation from 2015 with Lilly Hiatt
• Toss a few in our Tip Jar!

Show Notes

In this episode, it’s less of an interview and more like a jam session with friends. Here’s what goes down:

• The hosts sit down with a musician whose roots run deep in R&B, funk, and soul, thanks to a dad who could play piano like nobody’s business.
• Growing up in a household where family dinners came with a side of singing, music wasn’t just around, it was a way of life.
• They talk about how California’s rich and eclectic music scene helped shape his sound from the very beginning.
• The conversation flows from early influences to the evolution of his band, Dawes.
• Songwriting? It’s a team effort. He brings in the bones—chords and lyrics—and the rest of the band helps build it out into something that truly connects.
• Live shows are a different beast altogether. He shares how songs take on a whole new energy on stage, sometimes changing entirely from the studio version.
• They swap stories about memorable gigs, unpredictable venues, and the unique energy each audience brings.
• And of course, there’s plenty of humor, warmth, and behind-the-scenes moments that show the human side of being a working musician.

At its core, the episode is about more than just music. It’s about collaboration, creativity, and what happens when you grow up with rhythm in your bones.

Chapters

00:00 Introduction to Country Fried Rock

00:19 The Influence of Family on Musical Journey

05:20 Exploring the Road: Food and Music

11:32 Transitioning to New Beginnings

15:26 The Resurgence of Vinyl and Gear Maintenance

Takeaways

• The guest grew up in a home where R&B and funk were just part of the daily soundtrack. That early exposure shaped who they are as an artist today.
• Dawes isn’t a one-person show. Songwriting is a full-band effort, with everyone bringing something to the table to shape the final sound.
• Playing live is where things really come alive. Songs often shift and evolve on stage, making every performance feel fresh and unpredictable.
• Life on tour isn’t just about the music. They’re also big on checking out local food spots. They aim to eat healthy...but they’re not skipping the good stuff either.
• The band is all about keeping things real in the studio. They stick with analog gear and an old-school recording vibe, largely thanks to their producer’s influence.
• Moving from openers to headliners didn’t happen overnight. The band reflects on the ups and downs of that journey, and how they’re planning smart for what comes next.

Mentioned in this Episode

• Dawes
• Vetiver
• Bright Eyes
• Alison Krauss
• Brett Dennen
• Otis Redding
• James Brown
• Joni Mitchell
• Jackson Browne
• Grateful Dead
• Warren Zevon
• Whole Foods
• First Avenue
• Delta Spirit
• Langhorne Slim
• Romney Rye
• Steve Soto
• The Full Tones

Recommended If You Like

country music podcast, musician interviews, songwriting inspiration, creativity in music, Dawes band interview, California music scene, funk and soul influences, acoustic guitar arrangements, live music performances, touring experiences, band dynamics, music production process, vinyl records resurgence, healthful food on tour, coffee culture in music, local dining spots, music collaboration, festival performances, artist influences, music gear and equipment

Transcript

Speaker A

00:00:00.800 - 00:00:12.800

Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey, Taylor. This is Sloan Spencer from Country Fried Rock.

Speaker B

00:00:12.880 - 00:00:13.360

Hi.

Speaker A

00:00:13.360 - 00:00:14.400

How are you doing?

Speaker B

00:00:14.400 - 00:00:14.720

Great.

Speaker A

00:00:14.800 - 00:00:18.080

Fantastic. So thank you much. I appreciate you being with us on Country Fried Rock.

Speaker B

00:00:18.080 - 00:00:19.520

Yeah, thanks for having me.

Speaker A

00:00:19.840 - 00:00:21.680

How did you get into music as a kid?

Speaker B

00:00:21.840 - 00:00:48.320

My brother and I grew up in a musical family, and whenever there was time to. For, like, you know, at the end of, like, family dinners or holidays or anything, we don't. Everyone would just always been singing.

Our dad was a great piano player and songwriter, so he doesn't go much anymore. But, yeah, he brought us up very much in love with music, and we never really felt like.

We never really made a choice of, like, oh, this is what we're going to do. It was always just already agreed upon saying that music was what our lives were going to be all about.

Speaker A

00:00:48.640 - 00:00:51.280

Cool. So what kind of stuff did your dad play?

Speaker B

00:00:51.750 - 00:00:58.470

It was more R and B, funk and soul kind of stuff, like Otis Redding and James Brown, and so that's what he brought us up on.

Speaker A

00:00:58.790 - 00:01:00.150

Where'd the band name come from?

Speaker B

00:01:00.230 - 00:01:02.270

That's me and the drummer's grandfather's name.

Speaker A

00:01:02.270 - 00:01:03.270

Where'd y' all grow up?

Speaker B

00:01:03.510 - 00:01:10.150

Los Angeles, California. Different parts. Started out in, like, Glendale and went to high school out in Malibu and different areas of la.

Speaker A

00:01:10.550 - 00:01:21.420

The whole Southern California area has a lot of different musical influences. And your dad was into the funk in the R and B. What other kind of stuff played on your interests? As y' all were developing Thoughts was.

Speaker B

00:01:21.420 - 00:01:58.490

Coming together, I started listening to a lot of stuff that I wasn't really thinking about it. I was just really getting into Joni Mitchell and Jackson Browne and the Grateful Dead and Warren Z. Von.

As time went on, I started to realize that all these artists, they were all California artists.

And I didn't even realize that at first, but I guess there's just something that permeated with their songwriting personalities that resonated with me that might have been that the fact that we were both coming from that same world. So that was a big.

That was like, in terms of what California music comes from, that was a big deal for me, even though I wasn't even quite aware of it. And I think that even made it that much bigger of a deal.

Speaker A

00:01:59.130 - 00:02:09.690

Even though y' all are on the same page creatively and with what's influencing you since you've come together with Dawes, how does that work for you all? As you all work together to develop a song as A group?

Speaker B

00:02:10.810 - 00:02:53.860

Well, we. We. I write the song by myself, and then we all kind of come together to arrange them.

When it comes to, like, how we're going to represent, how we're going to present the song, and we sort of lean on each other for what they're good at. You know, I'll have a song on acoustic guitar, and then I'll bring it to the guys and be like, how do you think we should do this?

And then we'll kind of go through the different ideas till we arrive upon something that everyone feels like this is a good way to show people, this song. So we definitely lean on each other. I don't really, like, decide upon anything until we're all together.

The only thing I do is the chords and the words and the melodies and then. And then everything else. What the drummer plays. The drummer decides what the bass player plays that he decides.

Speaker A

00:02:54.420 - 00:03:03.740

Y' all really have refined what it is people expect when they come to your shows. Are there any songs in particular that have evolved a lot for you all? With all of this time on the.

Speaker B

00:03:03.740 - 00:03:40.410

Road, I think, like, with certain things, we end up. It ends up growing on stage and, like, you know, like a song like Love Is All I Am or a song on the new record called A Little Bit of Everything.

Like, the dynamics don't get that big. It tends to be a smaller. Less like a smaller something that suits the song and just something that's mellow all throughout, and that's that.

But then live, they end up having, like, an arc to it where they start at that level and then with the lyric and with the feeling of the song tends to grow a little bigger than it does in the record and then kind of come back down. So it. It doesn't kind of stay on this one level being this ballad, it turns into more of, like, a parked experience.

Speaker A

00:03:41.050 - 00:03:44.970

Y' all are on the road quite a bit, obviously. What can you agree on to listen to?

Speaker B

00:03:45.130 - 00:04:25.350

Well, whoever's driving tends to put on the music.

You know, some guys are doing different stuff, so someone might be reading a book in the back and have the music faded up so they don't have to hear that or whatever. Or we're all listening to stuff. I mean, we all have different tastes, and they're sometimes sort of dictated by instrumental. Life is kind of cool.

Like, our bass player listens to a lot of the R and B and, like, soul music and a lot of stuff that's, like, really bass driven, and it's perfect for him to be listening to that.

And then I might listen to a lot of song based stuff, stuff that the band might not want to even sound like, but stuff that I respond to as a songwriter and you know, like along those lines, like we all kind of have our own tastes, but the same taste kind of.

Speaker A

00:04:25.750 - 00:04:29.670

Do you get the opportunity to listen to any of the bands they're opening for you all?

Speaker B

00:04:30.240 - 00:04:53.040

Totally. I tried. The band's gonna open for us. We want to make sure it's something that we want to be represented by as well.

So like last fall when we went out and Vetiver was main support, that was a big deal for us because they're there. Those guys are heroes of ours, really. We've admired that band for a long time. Stuff like that.

We always make sure that we feel represented by the band that's opening for us. So we always make sure to like give it a good listen before and during the tour.

Speaker A

00:04:53.200 - 00:04:56.800

Have you had anyone in the last year or so that you really were just turned on to because of that?

Speaker B

00:04:57.370 - 00:05:17.050

You know, we actually like, like everyone that we've gone out with hastened to be.

Bands that we were already familiar with, like the Romney Rye were friends of ours beforehand and, you know, it was really fun to get to play with them every night. And then Vetiver were, you know, some heroes of ours. So, you know, examples like that.

But there hasn't really been that many groups where we didn't know who they were before the show.

Speaker A

00:05:17.610 - 00:05:20.330

So as y' all are on the road, where do you like to stop and eat?

Speaker B

00:05:20.730 - 00:05:33.480

We always like to try to find local cool spots. I wouldn't call us health nuts, but we're definitely. We don't ever eat in any fast food places or anything.

Not because we're against it, but just because I feel like once we open ourselves up to that being okay, I feel like we can get carried away.

Speaker A

00:05:33.480 - 00:05:36.680

And it'll just be who's in charge of deciding where you go.

Speaker B

00:05:36.680 - 00:06:15.100

I mean, I guess we all are, but. But we always have to really cater to Wiley, our bass player. He's, he's, he's. He's the one that doesn't eat any meat ever.

So if there's a spot that's like a really great barbecue spot, like the only way we're gonna. We feel okay going there as if we make sure that he's taken care of when we're going somewhere else that can eat at.

But we're all pretty healthy guys every time. Every city that we find a Whole Foods in, we're pretty excited about that. But like Today we're in Asheville.

We just ate at an incredible breakfast spot, and we all had really weird local selections that were delicious, but it's not like. Yeah, but it wasn't like, oh, I'm gonna go get some fried biscuits and gravy or something like that. Early girl.

Speaker A

00:06:15.180 - 00:06:16.460

Early girl. Is that where y' all went?

Speaker B

00:06:16.860 - 00:06:17.140

Yeah.

Speaker A

00:06:17.140 - 00:06:18.300

Oh, that place is great.

Speaker B

00:06:18.540 - 00:06:19.260

You've heard of it?

Speaker A

00:06:19.260 - 00:06:19.900

I love it.

Speaker B

00:06:20.060 - 00:06:23.020

Yeah, it was incredible. That's what we just say is insanely good.

Speaker A

00:06:23.100 - 00:06:29.260

I'm in the south, so I can say this, and I'm from the South. It can get difficult to find healthful food options on the road around here.

Speaker B

00:06:29.820 - 00:06:30.860

Yeah, totally.

Speaker A

00:06:31.100 - 00:06:33.980

I mean, I really respect the challenge that. That is for Wiley.

Speaker B

00:06:34.300 - 00:06:53.850

Yeah, yeah, I know. It's. It's. It can be hard, but we figured out, I mean, the bigger cities always have a Whole Foods, right? As long as there's a Whole Foods, we're.

We're pretty. We're all fine. Yeah, I mean, like, we. There's always like, a Thai place or something nearby that's. That makes it all right. So we don't.

We don't get stuck with no options ever. That. That's good.

Speaker A

00:06:53.930 - 00:06:55.210

So are y' all coffee people?

Speaker B

00:06:56.170 - 00:06:58.010

Yeah, I'm a big coffee guy.

Speaker A

00:06:58.010 - 00:06:58.890

What do you have to have?

Speaker B

00:06:58.970 - 00:07:27.300

I don't know. I just like to find a strong cup of coffee wherever I go. I mean, if I. If I. There's nothing else than Starbucks.

Even though it's not, like, my favorite, I at least know it's got some strength to it. But.

But, I mean, like, there's some really awesome spots around the country, like, yeah, Intelligentsia and Blue Bottle and Stump Town and really cool beans that local spots sometimes brew. And that's always really fun to come across those spots.

Speaker A

00:07:27.380 - 00:07:30.100

I mean, gosh, it's only been, what, five years? Is that right?

Speaker B

00:07:30.820 - 00:07:35.460

Yeah, yeah, I guess so. I mean, our album came out officially about a year and a half ago.

Speaker A

00:07:35.460 - 00:07:40.820

Or two years ago, as you all are moving then into this next one. Have you been road testing these songs?

Speaker B

00:07:41.520 - 00:08:16.220

Yeah, we've been playing the new material on stages for a long time.

I feel like most people that are familiar with Dawes know just about every song a new album, which, you know, for some people might be a bummer, but I think for most people, they'll be excited that these songs, they've sort of grown, like, they've watched the songs grow in front of them, and I.

And, you know, the song that they might want to always hear live when they come to the show now they're going to get to have their recorded version finally. So I think it's a cool thing. But yeah, we've played our new material on stages more than I think other bands even tend to want to.

Speaker A

00:08:16.300 - 00:08:22.540

Has anything changed in particular over time from when you first started playing it live to as you went into the studio with it?

Speaker B

00:08:22.940 - 00:08:48.439

Not really. Like, some songs there'll be subtle changes that we'll learn that work better than others.

Like, okay, we shouldn't do that, or we should trim that part down or make that part longer just for the sake of like, what worked on stage and what didn't. But.

But overall there haven't been like these wild changes to songs for the sake of like, like, like, you know, between the first time we put it on stage and then by the time we.

Speaker A

00:08:48.439 - 00:08:54.559

Recorded it, you've really, you've been on the road a ton. What kind of venues have really been a pleasant surprise for you in the recent past?

Speaker B

00:08:55.199 - 00:09:10.340

We'll get to some cities and we, we won't really have any idea as to how many people will come out and they'll just be, you know, like, we put. When we played First Avenue in Minneapolis, I didn't really think that we would, we would, we should be playing that venue.

But then it ended up...

Summary

In this episode from 2015, we sit down with singer-songwriter RayLand Baxter to talk about his upcoming album Imaginary Man, set to release on August 14 through ATO Records.

Although he grew up in Nashville and is the son of a well-known songwriter, RayLand didn’t dive into music seriously until his twenties. He shares what led him there and how his path into songwriting unfolded a bit later than expected.

We also talk about his evolution as an artist and some of the personal choices that shape his identity, including why he chose to capitalize the "L" in his name. It’s a small detail with real personal meaning behind it.

RayLand walks us through the collaborative process behind Imaginary Man, and we get into the key moments and experiences that helped shape the sound of the new record.

This episode gives a great look at RayLand Baxter’s creative journey, from finding his voice to crafting an album that captures where he is now as an artist.

Show Notes

In this episode, we catch up with RayLand Baxter to talk about his new album Imaginary Man, releasing soon on ATO Records.

• RayLand comes from a strong musical background. His dad, Buddy Baxter, is a respected songwriter and studio owner. But surprisingly, RayLand didn’t start playing guitar until he was 20.
• He shares what led him to pick up music later than most and how those early experiences shaped his voice as a songwriter.
• We get into his creative process and the unique way he approaches his music, including the personal story behind the capital "L" in his name.
• RayLand reflects on his connection to Nashville and how the city continues to influence his work, even as he carves out his own path.
• Throughout the conversation, you’ll hear how authenticity, heritage, and a love for songwriting all come together in Imaginary Man.

Links

• RayLand Baxter
• RayLand Baxter on Bandcamp
• You may also enjoy our conversation with T Hardy Morris
• After you buy music or see a show, please toss a few bucks in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Chapters

• 00:01 - Introduction to Raelyn Baxter
• 01:12 - The Journey Back to Music
• 10:29 - The Release of Imaginary Man
• 18:23 - A Journey Through Music and Heritage
• 22:23 - The Journey of Imaginary Man

Takeaways

• RayLand talks about his new album Imaginary Man and how it reflects his growth as a songwriter and artist.
• Growing up in Nashville with his dad, Buddy Baxter, in the music business definitely shaped his early connection to music, even if he didn’t dive in right away.
• It wasn’t until he moved back to Nashville in his twenties that he seriously picked up the guitar and decided to chase music full-time.
• Imaginary Man is a true team effort, with input from a range of talented musicians and producers who helped bring the album to life.
• RayLand shares how important live shows are to him, especially the energy that comes from playing with other musicians and connecting with an audience.
• The album cover is also part of the story. It represents a turning point in his creative journey and shows how much he’s evolved both personally and artistically.

Mentioned in this Episode

• ATO Records
• Three Trees Music
• Cage the Elephant
• Chrome Pony
• Drivin n Cryin

Recommended If You Like

RayLand Baxter, Imaginary Man, Country Fried Rock, Nashville songwriter, ATO Records, music podcast, acoustic guitar, songwriting process, Americana music, new album release, Nashville music scene, live music performance, indie music, music collaborations, Raelyn Baxter interview, music production, Americana Fest, Nashville musicians, songwriting evolution, musical influences

Transcript

Speaker A

00:00:00.240 - 00:00:33.310

Welcome to Country Fried Rock. This week we're talking with Raelyn Baxter, who has a brand new record, Imaginary man, on ATO Records.

Although Baxter grew up in Nashville as the son of noted songwriter and studio owner Buddy Baxter, Raylan did not pick up a guitar until his early twenties.

We find out about his songwriting growth and why he capitalizes the L in the middle of his name and a whole lot more with Raelyn Baxter on Country Fried Rock. I'm your host, Sloan Spencer. My guest today on Country Fried Rock is Raelyn Baxter with a new album, Imaginary man, coming on the 14th of August.

Welcome.

Speaker B

00:00:33.870 - 00:00:34.350

Hello.

Speaker A

00:00:34.510 - 00:00:39.310

We've had a little chat had about locations and places across the way. How'd you end up in Nashville?

Speaker B

00:00:39.790 - 00:01:09.920

Well, I was born here and I grew up here until I was 13. My dad was in the music business, my mom was not, but she loved my father at that time. And so this all started here.

And When I was 13, I moved up to Maryland and then did my thing there and then moved back seven years ago. So Nashville's home. Nashville is my home. Even around the country. I'll be going around and be like, where are you from? I'm from Nashville.

Well, where are you from?

Speaker A

00:01:10.079 - 00:01:10.480

Right.

Speaker B

00:01:10.880 - 00:01:12.800

I mean, I'm from Nashville, man.

Speaker A

00:01:12.880 - 00:01:19.200

What made you end up heading back into the music business rather than trying to move away from that?

Speaker B

00:01:20.010 - 00:01:39.290

Well, you know, I was never a part of it when I was growing up. My dad was, but I was, you know, just like a little sewer kid running around in the creeks and playing soccer and playing lacrosse and basketball.

And so I was not. I didn't pick up a guitar until I was 20 years old.

Speaker A

00:01:39.370 - 00:01:40.250

Oh, that's late.

Speaker B

00:01:40.410 - 00:02:12.490

Yeah, very late. So once I picked up a guitar when I was 20, it had come at a time.

I don't want to jump ahead in the interview, but I was playing lacrosse in college and I had torn my acl, my knee ligament. And then at the same time as I tore my acl, my dad was given an acoustic guitar in exchange for rent.

My friend Luke Reynolds, who actually played on the album, he's played a bunch of guitar on the new album, gave my dad this guitar that Luke's dad had built him from a tree that fell down in their yard in Vermont.

Speaker A

00:02:12.570 - 00:02:13.130

Wow.

Speaker B

00:02:13.130 - 00:02:19.160

And it's a beautiful bird's eye maple acoustic guitar, dreadnought style. Kind of looks like a Martin.

Speaker A

00:02:19.480 - 00:02:19.960

Wow.

Speaker B

00:02:20.440 - 00:02:34.920

During Christmas break, I went down to stay with my dad. This is my sophomore year in college. And he was like, ray, take this guitar, man.

See, you can't Walk that well, so you might as well learn how to play guitar. And so from then on, it was kind of. It was on.

Speaker A

00:02:35.160 - 00:02:36.440

Did you end up going back to school?

Speaker B

00:02:37.160 - 00:02:58.230

I did. I went back. I didn't graduate, but I went back and finished. Finished just shy six credits shy of my degree.

And I was like, I really cannot stand living in Baltimore anymore. And I was like, I'm out of here. So I got in a car and I drove to Colorado. Still haven't finished my college degree.

That's maybe something I'll take care of down the road at this point.

Speaker A

00:02:58.230 - 00:02:59.990

Surely they can give you six credits of life.

Speaker B

00:02:59.990 - 00:03:13.720

You know, I know I would love to call the dean of students who was my arch nemesis during college and be like, listen, I'm doing something with my degree. I'm using it. Although it's not official I'm using it.

Speaker A

00:03:13.880 - 00:03:19.480

But, you know, the secret person you need to know in college is the registrar. That person has magic powers.

Speaker B

00:03:20.040 - 00:03:23.800

Ah, maybe that's. I've been firing at the wrong target all these years.

Speaker A

00:03:23.880 - 00:03:25.200

Are you up on the whole FIFA.

Speaker B

00:03:25.200 - 00:03:56.840

Drama lately with the refs getting arrested and stuff? Yeah, I followed the sport only because they started playing it a bunch in the United States.

Like, the way it went for me sports wise was I played soccer every day of the week all year until I was 13, until I moved to Maryland, and then I started playing lacrosse almost immediately. So I'm happy that it's becoming more popular in the United States.

And I do think that it seems like a pretty corrupt situation, but I don't know who's going to fight him. Who's going to beat the beast?

Speaker A

00:03:57.320 - 00:04:01.320

Just curious. I've been surprised by the passionate feelings folks have had about that.

Speaker B

00:04:01.680 - 00:04:06.680

Well, you know who is passionate is Eric Massey, who is the co producer on this on Imaginary Man.

Speaker A

00:04:06.680 - 00:04:07.240

Oh, yeah.

Speaker B

00:04:07.240 - 00:04:15.760

He's a crazy soccer fool and he loves it. And he. If he was next to me, he'd take the phone, he'd be like, actually, yes. And then he'll tell you all about it.

Speaker A

00:04:16.560 - 00:04:49.340

Keep your ears open for some fun things going on with Country Fried Rock in the next few months. We're going to have a new way for y' all to submit some music to the show for a fall feature.

And we'll be hanging out and having a party in Nashville during Americana Fest. Yep, it's official, but I can't give you the detail details just yet. 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 B

00:04:49.500 - 00:04:53.100

Hello, this is Raelyn Baxter on Country Fried Rock.

Speaker A

00:04:53.180 - 00:05:05.620

That's a great segue because you worked with Adam Landry as well, who is somehow becoming the unintended theme of this year's show. Probably awesome. More than half the records we've covered this year have been touched by Adam Landry.

Speaker B

00:05:05.940 - 00:06:03.350

He's the man. So I've known Adam since I was a sophomore in college. He used to.

My dad had a studio called Three Trees Music out in White's Creek, Tennessee, and it was a beautiful studio built of a bunch of old buildings from the Opryland Amusement park that shut down a while ago, and he built a beautiful studio. And Adam had just moved to Nashville from Maine, and he was playing guitar with Ray Lamontagne, and he was doing all these cool things.

And I met Adam, and he was a rock star to me, you know, he still is actually, more so than ever. And so when it came around to looking for producers, we had a couple names in the bucket, but Adam kept on coming around. Adam is rad.

He's a great guitar player. He knows when a song has good movement and good feel to it, and it was really a joy working with him, and I hope to work more with him in the future.

Speaker A

00:06:03.670 - 00:06:06.550

What was different for you this time around versus previous releases?

Speaker B

00:06:07.030 - 00:07:45.550

Feathers and Fish Hooks was like, you know, I started playing guitar when I was 20, and it's really late, so I did in three years, really, what most people who planned ahead and found their gift, or passion, whatever you want to call it, in their teens. I did 15 years of work in three years. So feathers and Fish Hooks was like, how do you do this? Okay. Oh, you have to sit that way against the mic.

You know, in terms of recording. Oh, I have to sit, and I have to sing into that part of the mic. Oh, I was singing into the wrong end of the mic. All these things.

I didn't know what I was doing, and luckily, I was the dumbest person in the room. So Feathers and Fish Hooks. It came out great, but it was very. It was my rookie attempt.

And so then I've had a few years in between to figure out to write a bunch more songs, to spend a lot more time, pretty much every waking hour, thinking about cool melodies and lyrics and observing what's around me at all times, and how can I use this to express an emotion and how can I put this into a song? And so imaginary man came out this group of songs.

We started recording, and we all kind of knew a little bit more what we were going to be doing in the studio. And we had something to look back on.

I would just sit in the vocal booth with my guitar and look into the control room, and whenever I saw Eric and Adam kind of bobbin. Adam would stand up. Eric would be sitting because he recorded it all as well.

Eric would be sitting, and Adam, when Adam started kind of like, pacing, it was like, all right, we're onto something. We're onto something. Then that was my meter to be like, okay, we got this. Let's work on this idea. That's that.

Speaker A

00:07:45.710 - 00:07:48.190

So were a lot of the songs developed in the studio that way?

Speaker B

00:07:48.850 - 00:08:22.480

I came to the studio with all the lyrics and, for the most part, chord structures and everything like that. And then, yeah, we were just like, let's find a groove. And so we started track one of the album.

Mr. Rodriguez, is the first song that we tracked, and that kind of set the tone for the rest of the tunes. Really grooving. Yeah. They just kind of fell together.

It was not effortless, but it was a bit of effortlessness and then a bit of precise decision making.

Speaker A

00:08:23.040 - 00:08:29.840

You also were able to bring in some friends and colleagues to support some of this. Tell me about the other folks who collaborate to make this record happen.

Speaker B

00:08:30.720 - 00:09:20.120

So we'll start with the band. Chip Kilpatrick played drums, and Matt Roland played the keyboards. Eli Beard played bass. These are all Southern boys. Eli is from Nashville.

Chip is from Birmingham. Matt is from Arkansas. All of these guys kind of live in Nashville. And then Jeffy Balin came and sang on some of the record. She lives in Nashville.

Mickey Echo is a Nashvillian. All these are friends. They're just friends.

And then Matt Vasquez, who I had not met before, him showing up to the studio, but he and Adam are really good friends. And Adam was like, matt will sound really good with your voice. So Matt came in, and we all hung out for a few days, and he sang a bunch.

And now Matt and I have become friends, and I'll see him in Austin when I go down there.

Speaker A

00:09:20.200 - 00:09:20.680

Cool.

Speaker B

00:09:20.920 - 00:09:41.490

Isaac Bird, who used to be in a band called the Bridges, a family band, and she sang on Feathers and Fishhooks as well. And so we brought her back in. She's singing on youn Love. I think that's the only track she sings on. Track? Yeah, it was just a nice family effort.

Everybody was behind the songs, and I called them, and they're like, yeah, I'd love to.

Speaker A

00:09:41.810 - 00:10:28.830

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 [email protected] we'd like to send a big thank you to our Country Fried Rock listeners for supporting Country Fried Rock alum Alan Thompson, who is recovering from a diving accident.

If you'd like to donate, every dollar matters and it goes directly to helping defray his bills, you can find that link on Country Fried Rocks, Facebook or Twitter. It's a you caring donation page. Keep your ears peeled for a few different benefit shows in the Nashville area for Alan Thompson. We love you, man.

Get better soon.

Speaker B

00:10:29.070 - 00:11:30.580

The title of the new record is Imaginary man, and you can get yourself a copy at your local record store, my website, raylonbaxter.com or come see us at a live show and come say hi to me at the merch table and I'll sell you one myself. And if you're broke, I'll give it to you.

We finished the album in November of last year, so I did a tour in March as a trio with the drummer and the keyboard player, and we played Mother Mother a couple of songs. The tour that I do in Europe, I'll be playing solo. So all the songs.

This is the cool thing about a song is, you know, they can be translated in a different. All different forms. So I'll play a bunch of new songs in the solo form, and they're completely different than the record. Not completely.

The melodies are still there and obviously the lyrics don't change. But I'm a fan of presenting the songs in five different forms if I can, just to keep it exciting for me.

Speaker A

00:11:30.580 - 00:11:33.620

You mentioned a little bit about Austin. Is that Austin City Elements Fest?

Speaker B

00:11:34.100 - 00:11:55.460

Yeah. Sweet. That's going to be a lot of fun. Maybe Matt will come sing with us.

My buddy Shaky Graves, who I toured with last year, him and I have become really good friends. He's kind of one of my favorite guys out there making music right now. He's going to be around.

He might show up, but I've never played acl, so I'm looking forward to it. I love playing music in Austin, Texas.

Speaker A

00:11:55.740 - 00:12:05.020

On these solo tours. Are you solely touring alone or are you also pairing up with, like, buddy bands or other songwriters to share bills?

Speaker B

00:12:06.060 - 00:12:34.750

Sometimes I'll Borrow some bandmates from other bands. Usually if I'm an opening act as a solo, I'll just keep it solo because I like having the stage to myself.

I can get through a set between an acoustic and an electric guitar. I can do sometimes more than a full band can do. You know, just in terms of the presentation, I don't ever plan ahead for stuff like that.

But if some people are in town or who knows, you know, it's like, are you available? Cool, let's jam. Or. No, I got this.

Speaker A

00:12:34.830 - 00:12:45.550

You're in...

Summary

In this episode from 2015, we sit down with T. Hardy Morris, best known as the frontman of Dead Confederate, to talk about how his music has evolved and what went into making his latest album, Drowning on a Mountaintop.

Hardy opens up about the creative process behind the record, including how he’s been experimenting with different sounds, like blending pedal steel into a rock setting, and how that’s shaped the feel of the album.

We also talk about the collaborative nature of his work. He shares stories from his time with the supergroup Diamond Rugs and reflects on the strong musical relationships he’s built over the years.

Throughout the conversation, Hardy gets into how his lyrics and music come together, usually in a pretty natural, unforced way. His songwriting leans into both his country roots and the raw edge of grunge, and Drowning on a Mountaintop really shows that mix.

If you're curious about how genre lines blur, or how an artist stays grounded while constantly growing, this episode gives a great look into Hardy’s creative world.

Show Notes

In this episode, we catch up with T. Hardy Morris to talk about his latest solo album, Drowning on a Mountaintop, and the path that’s led him here.

• Hardy, known for his work with Dead Confederate and the supergroup Diamond Rugs, shares stories from his early days growing up in Augusta, Georgia. Those early community experiences helped shape his creative outlook.
• We talk about how his sound has evolved over time, landing in a space that blends rock and country in a way that feels both fresh and familiar.
• The conversation takes a closer look at the making of Drowning on a Mountaintop, including how working with producer Adam Landry helped shape the album’s tone and texture.
• Hardy opens up about his songwriting process, especially how lyrics and music come together naturally for him, with an emphasis on honesty and emotional impact.
• Whether you’re a longtime fan or just discovering his solo work, this episode offers a real look into Hardy’s creative world and what drives him as an artist.

Links

• T Hardy Morris
• T Hardy Morris on Bandcamp
• You may also enjoy our conversation with Folk Family Revival
• After you buy music or see a show, we'd love your support with a few bucks in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Chapters

• 00:08 - Introducing T. Hardy Morris and His New Album
• 03:03 - The Evolution of Sound: Collaborating with Adam Landry
• 08:25 - Exploring the Intersection of Country and Grunge
• 12:57 - New Connections in Music
• 14:29 - Transition to New Music Ventures

Takeaways

• Hardy talks about his new album, Drowning on a Mountaintop, which brings together a mix of rock and country influences in a way that feels fresh but grounded in tradition.
• He shares how his songwriting tends to evolve naturally, and how experimenting with pedal steel helped shape the album’s sound.
• Collaboration plays a big role in his creative process. Hardy talks about working with other artists and especially highlights the impact producer Adam Landry had on this project.
• There's an interesting conversation about the link between grunge and southern rock. Hardy points out that both genres have a rural quality that people don’t always recognize.
• He gives a quick update on what's next, including touring plans and some recording time with Dead Confederate. The band isn’t done yet, just taking things slow.
• The episode wraps up with a real talk about how tough it can be to connect with audiences in today’s crowded music world. Hardy reflects on the challenges of staying visible without losing authenticity.

Mentioned in this Episode

• Danger Bird Records
• Diamond Rugs
• Dead Confederate
• Reverb Nation
• Drive By Trucker
• Meat Puppets
• Justin Collins
• Delta Spirit
• Deer Tick
• Chase Park

Recommended If You Like

Country Fried Rock, T. Hardy Morris interview, Dead Confederate, Diamond Rugs supergroup, Drowning on a Mountaintop album, Danger Bird Records, indie rock podcast, southern rock music, pedal steel guitar, songwriting process, Americana music, music collaborations, grunge and country fusion, Athens music scene, music production, lyrical songwriting, vinyl records, music industry insights, emerging artists, country music podcasts

Transcript

Speaker A

00:00:00.160 - 00:00:23.360

Welcome to Country Fried Rock. This week we're talking with T. Hardy Morris, frontman for Dead Confederate, as well as part of the Diamond Rugs indie rock supergroup.

Morris is also known for his solo work with a brand new album out from T. Hardy Morris and the hard knocks called Drowning on a Mountaintop, out now on Danger Bird Records. You're listening to Country Fried Rock and I'm your host, Sloane Spencer.

Speaker B

00:00:23.360 - 00:00:24.400

Where are you now?

Speaker C

00:00:24.640 - 00:00:25.760

I still live in essence.

Speaker B

00:00:25.760 - 00:00:27.440

But you're originally from Augusta.

Speaker C

00:00:27.780 - 00:00:38.180

Yep, that's where I was born and raised. Down. Down. Well, just outside of Augusta.

But yeah, essentially we used to float the river and we would moon everybody as they went across the icewinning bridge.

Speaker B

00:00:38.340 - 00:00:45.780

You're a pretty busy guy with not just solo projects, but some band things as well. What has led to this most recent album that just came out?

Speaker C

00:00:46.180 - 00:01:29.240

Kind of a natural progression of things. I'd made a solo record a couple years ago and kind of did a little more slowed down acoustic. Yeah. Songs that I had. And I just. I don't know.

My friend Matt Stoessel, who plays pedal steel, we had kind of explored a little bit.

I'm a big fan of the pedal steel and the way it works within songs and I just wasn't quite through exploring the pedal steel and the ways it could work within the songs that I write. So we took it a step further and kind of did more of a rock and roll version. You know, just see what came about.

And down on the mountaintops where we wound up kind of bummed our Dead Confederate drummer. And so that took it to a place where it had to be a little more heavy handed and it was a lot of fun.

Speaker B

00:01:29.320 - 00:01:37.080

I noticed in the background we are unintentionally having an Adam Landry year on Country Fried Rock. Was your connection to him via Diamond Rugs?

Speaker C

00:01:37.640 - 00:02:27.260

Yes, exactly. First met Adam when we.

When we did the first Diamond Rugs record, we just kind of spoke the same language in the way we learned, like to create music and just recordings in general. Just kind of the same ethos as far as recording and just kind of letting it happen.

And he's got a good ear to kind of help us sift through the songs, you know, because I'll come in with a lot of stuff, a lot of ideas and we kind of can focus on certain ones and he's just easy to work with for me and the way I like to work. This one we did actually in Athens.

We wound up mixing a little bit over at his place in Nashville, but we recorded it here At a studio called Chase Park. Had a lot of good records come out. I was expecting my daughter essentially any day, so we kind of had to. Had to record it here. Proximity.

Speaker B

00:02:27.500 - 00:02:28.540

Congratulations.

Speaker C

00:02:29.100 - 00:02:44.240

Thanks. I've done a little bit of touring since she came. You know, even that had to slow down a good bit. You know, shoot out and do a few and come home.

Nothing too extensive. There's a lot of dates, but it's. You know, they're not all just back to back, three months at a time or whatever like I used to do.

Speaker B

00:02:44.480 - 00:02:48.080

With so many different projects going on, how do you filter songs?

Speaker C

00:02:48.800 - 00:03:01.600

Usually I just kind of know right off the bat. It just has the feel of where it should wind up. Every once in a while, they'll cross paths, but for the most part, it's all in my head.

I don't really know how to explain it, but I can just kind of tell where it needs to wind up.

Speaker B

00:03:01.680 - 00:03:03.560

We were saying originally there's some changes.

Speaker A

00:03:03.560 - 00:03:05.880

From the sound of audition tapes to.

Speaker B

00:03:05.880 - 00:03:15.080

This record with Drowning on a Mountaintop. And it's not just instrumentation. How do those come about for you? You kind of hinted that perhaps they developed a bit with Adam Landry.

Speaker C

00:03:15.480 - 00:04:19.240

We had done.

When we did the first Diamond Ruggs record, there was a song called Country Mile that kind of had this heavier verse, kind of stone and rock verse, and then it veered off, and the chorus was country. I called it the country part.

And then there was another song called Share the Needle on audition tapes that kind of had that same push and pull between the verse and chorus. And Adam and I were just. We were talking after. After a show one night.

We were kind of like, what do a whole record that's like that, you know, that has that. That kind of push and pull throughout it and kind of really exploit that idea. Because a lot of people seemed really drawn to those songs.

You know, they didn't seem as crazy to me, but other people were like, oh, that's crazy how that happened, you know, And I was like, oh, well, people seem to like that. Let's just try to go for it. So, yeah, just kind of went with that idea. I mean, we don't. It's not. Doesn't happen on. On every single song.

And we didn't try to force it. It kind of works for the way I write the stuff I like and for my vibe. I think it worked out pretty good.

Speaker A

00:04:19.240 - 00:04:19.640

Hey, y'.

Speaker C

00:04:19.640 - 00:04:19.720

All.

Speaker A

00:04:19.720 - 00:04:58.700

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 like to send a big thank you to our Country Fried Rock listeners for supporting Country Fried Rock alum Alan Thompson, who is recovering from a diving accident.

If you'd like to donate Every Dollar Matters and it goes directly to helping defray his bills, you can find that link on Country Fried Rock's Facebook or Twitter. It's a you caring donation page. Keep your ears peeled for a few different benefit shows in the Nashville area for Alan Thompson.

Speaker B

00:04:58.700 - 00:04:59.540

We love you, man.

Speaker A

00:04:59.540 - 00:05:00.460

Get better soon.

Speaker C

00:05:00.770 - 00:05:03.410

Hey, this is Pete Hardy Morris on Country Frad Rock.

Speaker B

00:05:03.410 - 00:05:10.050

You can listen to this record and miss some of what you're saying, and then you hear it, like the third or fourth time, you're like, holy cow.

Speaker A

00:05:10.050 - 00:05:11.170

That'S a great line.

Speaker B

00:05:11.730 - 00:05:14.210

A lyrical versus music contrast as well.

Speaker C

00:05:14.930 - 00:05:43.380

Lyrically, the album, a lot of it is. I don't know, I write a lot of stuff pretty quickly when I'm writing the lyrics. So a lot of times I don't even.

I don't know exactly what I said until after I hear it back, and I'm like, oh, that was kind of pointed or whatnot. But yeah, and especially that. That stuff happened.

That album happened kind of fast, the writing of it, because I went in with a lot of ideas lyrically. Yeah. Song by song and just kind of finishing them on the fly. Some of them were.

Speaker B

00:05:43.380 - 00:05:45.900

They always fleshed out before you got into Chase Park.

Speaker C

00:05:46.540 - 00:06:14.500

Pretty close. I mean, I was still writing some lyrics as we got into Chase park, but I think that's fine. That that works for me. Just kind of the way my brain is.

I've always been a little add, so I don't know. And sometimes. And I don't think that a lot of those lines you're speaking of or I'm talking about would really come about.

If I sat down alone with my pen and, you know, tried to labor over it. It might sound a little labored or might sound a little dramatic. You just speak what's on your mind. Sometimes it makes more sense.

Speaker B

00:06:14.660 - 00:06:17.380

Was there some time between completion and release?

Speaker C

00:06:18.260 - 00:06:52.000

Yeah, there was. There was a little bit, I guess.

We were done recording a year ago, and then we spent a little bit of time mixing it kind of sat for a little bit while the baby was born, and then I was home doing that whole thing, learning how to change diapers and all that stuff.

And then we got around to mixing, and that even took a little bit longer because we wound up going back over to Adams and doing a couple things just because we had to mix it so fast. Everybody just was busy. We mixed it and then we had a couple more things we wanted to do, so we fixed those over in Nashville and then finally done.

Speaker B

00:06:52.000 - 00:06:53.660

Who else else was able to help.

Speaker A

00:06:53.660 - 00:06:55.300

You fill out the sound you wanted?

Speaker C

00:06:56.180 - 00:07:15.460

Vaughn Lamb is who plays bass on the record and plays bass in the Hard Knocks. He's a local Athens bass player. He's played with, you know, a lot of bands around here, but I just like his style and vibes.

He's kind of got this noodley hippie punk thing going on that I like. Kind of fits what we're doing.

Speaker A

00:07:15.460 - 00:08:00.670

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 goods@country friedrock.org hey y', all, Country Fried Rock has a few cool new things going on that we've been teasing for a while.

Pop on by countryfriedrock.com scroll down on the right hand side of the screen or just keep on scrolling if you're on mobile. Down at the bottom, we're doing a quick listener survey. Find out a little more about what y' all want as we plan now for 2016.

I know it seems so far away, but actually we've already got a very cool thing up our sleeves that will be happening while I'm in Nashville next month.

Speaker B

00:08:00.750 - 00:08:01.070

So.

Speaker A

00:08:01.070 - 00:08:10.190

Looking forward to that. Speaking of which, lots of Country Fried Rock alums are going to be playing Americana Fest in September and we'll be hanging out that week.

Come on by and say hello.

Speaker C

00:08:10.830 - 00:08:13.630

Hey, this is T. Hardy Morris. Get more info at T.

Speaker B

00:08:15.880 - 00:08:21.800

What kind of stuff was speaking to you? Because there's, you can hear a lot of different things going on in the different songs on this record.

Speaker A

00:08:21.880 - 00:08:22.680

Specifically.

Speaker B

00:08:22.760 - 00:08:24.600

I got a little Nirvana on some of it.

Speaker C

00:08:25.240 - 00:09:51.110

Oh yeah, that was one of the things I was trying to convey with the record is, you know, you don't really think of, of like country music or, or Southern rock and grunge really sitting hand in hand. But to me, they're, they're not that really that far off. They're both kind of come from a rural sounding place to me.

You know, I don't know, just sounds like what I, that's what I grew up on. But I think they're a little Closer fit than a lot of people give them credit for. Especially like southern rock and grunge music.

What the real early versions of grunge music, you know, those are.

A lot of those bands were from out in the middle of nowhere, you know, kind of coming up with these ideas in the garage and southern rock with, you know, just these wood shedding out in the middle of nowhere in the. In the South. I don't know, they're just both kind of rural.

So I thought that the pedal steel and that country sound works a little better than you might think with the heavy handed side of grunge. Yeah, the Meat Puppets kind of. Kind of did that. They always had had a country vibe going on, kind of country punk. So there's definitely. And I've.

I've toured with those guys before and we've talked music a good bit. They're kind of buddies and I mean it's a little. A lot of the albums are a little more heavy handed than Meat Puppets. But I kind of.

They're often a band that I kind of have a touchstone in the studio that I kind of. When I hear Becca's song, I'm like, I wonder if Kurt and Chris would like this song. I'm like, yeah, I think they would.

Speaker B

00:09:51.110 - 00:09:54.510

There's a particular song I want to ask about. Who is the other voice on?

Speaker A

00:09:54.510 - 00:09:56.070

It's either quiet or quieter.

Speaker C

00:09:56.630 - 00:10:13.290

That's Justin. Who? Justin Collins, who's was the other producer on the record. Justin co produces a lot of stuff with Adam.

He did audition tapes and the Diamond Rug stuff. He's also a musician, singer, songwriter over in Nashville. His stuff's awesome. It's really good.

Speaker B

00:10:13.610 - 00:10:16.730

How have some of those relationships come around for who you get to go on tour with?

Speaker C

00:10:17.130 - 00:10:57.760

Well, you know, I've known the Drive By Trucker guys for a long time. From Day Confederate touring with them. They took us to the west coast. The first time we ever toured on the west coast.

We just always have kept in touch. Patterson and I specifically. He's been kind of a good proponent of my stuff, solo stuff and decofederate and so yeah, it's just.

I don't know, I feel like we're the band that when they just have to go do some one off shows, they're always like, hey, you want to come play? That's just local connection. You know, they.

They live here...