Country Fried Rock

Summary

In this episode from 2015, we catch up with Mason Lankford from the Texas-based band Folk Family Revival to talk about the band’s evolving sound, especially with their new album Water Walker. Mason shares how this latest record marks a real shift from their earlier work, both stylistically and creatively.

We dig into how the band approaches making music, especially the role live performance plays in shaping their songs before they ever hit the studio. Mason talks about finding the balance between experimenting in the studio and letting songs grow naturally through playing them live.

As they head out on their summer tour, the band is excited to bring this new, more psychedelic sound to audiences. It’s clear they’re in a phase of growth and exploration, and Water Walker is a big step forward in that journey.

What We Wrote in 2015

Folk Family Revival consists of three brothers and their buddy, but they are definitely moving towards psychedelic rock rather than straight-up folk with their sophomore album, Waterwalker, out now on Rock Ridge Music. With a homemade liquid light show from a visually talented friend, the luxury of regular studio access, and no external time constraints on recording, Folk Family Revival leaps into new territory. The songs continue to grow, both intentionally and for diverse audiences ranging from post-line dance classes in a legendary Texas roadhouse to sportsbars, finding ways to keep audiences engaged and the music fresh.

Show Notes

• This episode of Country Fried Rock features a deep dive into the journey of Texas-based band Folk Family Revival, from their early days to their latest album, Water Walker.
• Host Sloane Spencer chats with band member Mason Lankford about how their sound has shifted over time. He explains how Water Walker reflects a big step forward in style and creativity.
• Mason shares what went into making the new album, including a lot of experimentation and refining. Many of the songs were tested out live before they were recorded, giving them time to grow naturally.
• That live-first approach helps the band connect more deeply with their audience and shapes the final versions of the songs in meaningful ways.
• The band blends psychedelic rock influences with their folk roots, creating a sound that feels fresh while still grounded in tradition.
• Live shows are a big part of what makes Folk Family Revival unique. Mason talks about how they avoid sticking to rigid setlists, instead aiming for a one-of-a-kind experience at each performance.
• He also reflects on the challenges of playing in places where audiences expect more traditional country music, and how the band stays true to their sound even when it doesn’t fit the mold.
• As they hit the road for their summer tour, the band is inviting fans to experience this new phase in their music firsthand. It's all about growth, experimentation, and creating something real on stage every night.

Links

• Folk Family Revival
• You may also enjoy our conversation with Great Peacock
• After you buy music or see a show, we would love your support with a few dollars in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Chapters

• 00:03 - Exploring New Sounds in Folk Music
• 02:05 - Transitioning Sounds: The Evolution of Folk Family Revival
• 07:16 - The Evolution of Live Performance
• 12:39 - The Liquid Light Show: A Journey Through Music and Visuals
• 16:00 - Transitioning to New Beginnings
• 19:01 - The Dynamics of Touring and Relationships in Music

Takeaways

• Water Walker, the band’s new album, shows a clear shift in style compared to their earlier record, Unfolding. It marks a new chapter in their sound.
• Mason Lankford talks about how live performances play a big role in shaping their songs before they even hit the studio. Playing them live helps the music evolve naturally.
• Instead of trying to copy the studio versions on stage, the band focuses on making each live show its own thing. They want every performance to feel fresh and unique.
• The making of Water Walker brought in a mix of talented musicians, adding new layers and textures to the album with a wide range of instruments.
• Their live sets are always changing. They adjust based on the venue, the crowd, and the energy in the room, which helps keep things exciting for both the band and the audience.
• Folk Family Revival is focused on staying creative and true to their vision. They're not chasing trends or sticking to a formula just to appeal to the mainstream.

Mentioned in this Episode

• Folk Family Revival
• Rockridge Music
• Magnolia Red
• Levi Weaver
• John Foreman
• Switchfoot
• Fiction Family
• Nickel Creek
• Drivin n Cryin

Recommended If You Like

Country Fried Rock, Folk Family Revival, psychedelic folk, Water Walker album, Mason Lankford interview, Texas music scene, live music performances, recording process, studio versus live sound, indie rock bands, Texas country music, road testing songs, music festivals Colorado, music production insights, evolving sound, songwriting journey, musical influences, band dynamics, touring experiences, liquid light show

Transcript

Speaker A

00:00:00.160 - 00:00:33.100

Welcome to Country Fried Rock. I'm your host, Sloane Spencer. Apparently we've been on a psychedelic folk kick.

Didn't even realize it, but this new record, water Walkers from the Texas band Folk Family Revival shows a distinct change from their debut record.

We talk with Mason Lankford, one of three brothers in the band, about recording songs that have never been played live versus road testing and then recording or mixing it all up and finding new ways to keep it fresh. They're on the road this summer. Folk Family Revival today on Country Fried Rock.

Speaker B

00:00:33.100 - 00:00:40.860

My guest today on Country Fried Rock is Mason Lankford, who along with a couple of brothers and his buddy Caleb form Folk Family Revival. Welcome.

Speaker C

00:00:41.180 - 00:00:42.380

Yeah, thanks for having me.

Speaker B

00:00:42.380 - 00:00:53.420

I've known the name of your band for a while due to a friend of mine who has a radio station in Knoxville, Tennessee. But I'm excited to know about this most recent record, Water Walker. Tell me a little bit about what y' all have been doing.

Speaker C

00:00:53.740 - 00:02:01.060

Well, the record took us a while to make. We had recorded Unfolding and released it in 2011. It was our first one.

Started touring Steamboat, Colorado for the music fest up there and traveled down through California.

We were doing all that while trying to record this record, record a little bit, go back in the studio and either say, oh, we don't like the way this song sounds and scratch it, or add a new song and take out an old one or whatever. So. And we have the liberty because our manager, Jeffrey, is also our producer. So it's good because we can take time on records.

But it's also probably what helped us take so long making the record, you know. But, yeah, so took a while. But it's a good thing because there's such shift in style from the old one.

Then I think it took some time for us to figure out what that sound needed to be. And then, you know, dropping the shift on our friends and fans that soon, without a little time to wait may have not been the best decision.

So it's good that it took so long. And now we've just been touring a radio tour with the new record, pushing the single if it don't kill you, playing shows around that.

And then, you know, we just released the record, so we're about to hit the road.

Speaker B

00:02:01.710 - 00:02:07.430

It is, sonically a big shift from unfolding to Water Walker. Tell a little more about what happened.

Speaker A

00:02:07.430 - 00:02:10.510

In between those with the songs unfolding.

Speaker C

00:02:10.590 - 00:03:26.590

With that one, you know, we had just started the band.

Well, the band had been in other bands before as a group, but we had started Full family Revival and scratched everything we did previous and knew that this was the direction we were going to take. And all those songs had never been recorded. I mean, I had demoed them at home on a little rolling digital recorder.

We'd never even played them live together. So we got in the studio with Jeffrey and put those songs together in the studio and recorded them with Water Walker.

All these songs had been written while we were touring, unfolding or recording unfolding. And then we went into the studio immediately and recorded them after we had been playing them live.

So I think they had a little time to mature as far as a live sound goes. They knew how they needed to sound in a room. So when it comes to studio, you know, that's a totally different monkey.

It's a whole different process than setting up your amp and only having one shot to play the song in front of a bunch of people. You know, you actually get the time to pull them apart. So I don't know.

I guess they just, you know, already had a life, knew what they were supposed to sound like, and we knew what we were going for, so took on this psychedelic rock sound. With Caleb turning into a really good guitar player and us knowing how to play better with each other, these songs just.

They were already more worked out when we went into the studio.

Speaker A

00:03:26.840 - 00:03:51.480

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 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

00:03:51.480 - 00:03:52.360

We love you, man.

Speaker A

00:03:52.360 - 00:03:53.760

Get better soon. Hey, y'.

Speaker C

00:03:53.760 - 00:03:53.840

All.

Speaker A

00:03:53.840 - 00:04:08.040

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

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

Speaker C

00:04:08.120 - 00:04:12.440

This is Mason Lakeford with Folk Family Revival, and you're listening to Country Fried Rock.

Speaker B

00:04:12.680 - 00:04:19.000

So have those previous songs from Unfolding continued to change live, or did you kind of leave them be as that's who you were?

Speaker C

00:04:19.520 - 00:05:05.470

Yeah, that's kind of something we've always tried to do. We're really into, like, old rock and roll. I'm a big Dylan fan. We like Neil Young in the band, guys like that.

And we've noticed that back then, a big deal about a live show the reason people wanted to come see you is because they would have a totally different song than what they have on their vinyl record at home. And these days it's all programmed and has to sound exactly like the record. And we want to not do that. We want it to.

When people come to our shows, we want it to sound different. So now, I mean, when we go back and listen to unfolding once in a while, like, what was I playing there?

Whatever, it's just a totally different experience.

Come get me doesn't sound live anymore like it does on the record, you know, I don't think we could ever go back to playing it the way we did because it's changed so much.

Speaker B

00:05:05.630 - 00:05:16.510

Let's talk a little bit specifically about the recording of Water Walker. You said that there was a lot more in letting the songs grow live before you went in. But did you all stick with the four of you playing?

Speaker C

00:05:16.990 - 00:07:16.000

We had a couple of other musicians come in and help us out. Because making a record for us.

I don't know if it's this way for everybody, but songs just, for some reason, they just need certain instrumentation on them, like a lap still or a pedal still or whatever, you know.

And Caleb or I or Barrett could get away with playing a pedal still part, but it's not something we practice regularly, so we don't have the technique. So we'll call Will Van Horn, who plays with Robert Ellis and the Boys. And, you know, he played pedal steel on it.

And we had our really good friend Blake Bentley, who's played with us live and is at our house all the time. And we even fool around with another little band with him. Nothing serious, but he's one of our favorite musicians. He can play anything.

He played keys on the record, you know, Shelly Coley did background vocals. And we added a whole bunch of other just weird things. Like there was one day where we had Lincoln in an ISO booth.

He's our drummer in an ISO booth with a big clay pot. And he was tapping on it. And Jeffrey, producer had it ran through this bass synthesizer with all those weird delays and stuff going on.

That's what you hear in the background of I Found God, the last track on the record. All that weird, trippy mess. That's just Lincoln beating on a clay pot.

You know, just sometimes anything can be an instrument, but, you know, you gotta find it sometimes. In the last record, I sang into like a little harpsichord with a mic on the other side of it for a vocal effect on Chasing a Rabbit.

But yeah, I guess the recording Process for us with Jeffrey is it's kind of laid back for the most part. There's some intense moments where, like, nobody slept or ate for a while, and somebody will have to tell Jeffrey, like, you need to eat some food.

Or, you know, we're going to all freak out here. But, I don't know, we just get really creative with it and try to make the song sound the best it can. Like sunshine.

We had one version of it live, ended up retracking it about three times, and finally Jeffrey was like, man, we need to pull this back, slow it down and make it dark and creepy. And we did. And that's the take we kept.

Speaker B

00:07:16.000 - 00:07:20.720

You know, live shows are a huge part of what y' all do. What is that looking like for you right now?

Speaker C

00:07:20.800 - 00:07:57.480

It's getting great.

We spend a lot of time trying to figure out what our genre is, where we should play or what rooms or whatever, and playing a lot of clubs that play top 40 country and stuff like that, and it's fine. But, you know, it's sometimes damaging because people want to hear Copperhead Road and they're hearing some psychedelic offbeat rock song.

But I think we're finally getting in that groove and figuring out how to work it out in whatever room we're in. We can change our style enough to play a country set or a blues set or whatever to make it work.

And I think now the only thing that scares people is that I don't wear shoes on stage sometimes.

Speaker B

00:07:57.720 - 00:08:03.320

And it should be said that y' all are from Texas, and so you're primarily in kind of that Texas and Oklahoma area.

Speaker C

00:08:03.820 - 00:08:04.140

Yeah.

Speaker B

00:08:04.220 - 00:08:06.820

Where the clubs do have certain expectations.

Speaker A

00:08:06.820 - 00:08:07.820

From a live show.

Speaker C

00:08:08.140 - 00:08:09.420

Definitely. Yeah.

Speaker B

00:08:09.820 - 00:08:11.340

So you're not two stepping.

Speaker C

00:08:11.740 - 00:09:01.320

No, but it's funny that you say that. We played Billy Bob's in Fort Worth a couple nights ago, and we've done it about three times. We've never done the big stage.

We've just done the honky tonk stage. Thursday night thing. Yeah. You know, they have the line dance class.

All these line dancers that have just been, you know, working on their chops for like an hour are like ready for the band so they can line dance, you know, and then we come out playing this weird golf timing, American Standard, you know, kind of a weird bass driven. There's a groove in there that you could dance to, but it's too slow and, like swoony to do a line dance to. But they. They did.

I mean, a lot of them pulled it off. The guy told me he's like man, they can line dance to anything. And I was like, okay, I hope so.

threw him a few country songs and some old rock and roll stuff that sounds like Elvis or whatever, and they figured that out.

Speaker A

00:09:01.500 - 00:09:21.900

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

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

Speaker C

00:09:21.980 - 00:09:33.020

This is Mason Langford from Folks Family Revival. Make sure and come to one of our shows and pick up our new record, Water Walker.

If you can't get it at one of our shows, you can get it on itunes or a hard copy off of Amazon.

Speaker B

00:09:33.640 - 00:09:51.400

Outside of that Texas and Oklahoma region, just do not grasp the nuance of the term that is red dirt, which you are not. Outside of there, people are like, you're either country or rock. You know, they don't really get all of that.

And y' all are definitely pushing the psychedelic edge with this new record. How is that translating?

Speaker C

00:09:51.800 - 00:10:59.430

It's good. I mean, it just depends.

When you play a show and 10 people are really into it, and then 30 people might not be or whatever, then those 10 people are going to come up to the merch table and, you know, tell you they liked it and follow you on Facebook or whatever and come to your next show. Bring some friends and slow growing. But a lot of times you got 30 people talking louder than the music.

I guess it just depends what room and just who's there, you know? Last night, we played in Nacogdoches at the Liberty Bell, and they loved it.

I mean, every single seat in the house was facing the stage and no one was talking. We were able to even do, like, a really sad, slow, spacey song, and. And it was just like you could have heard a pin drop, you know?

But at Billy Bob's, for instance, you got a whole bunch

Summary

This week's episode from 2015 features an in-depth conversation with the Nashville-based band Great Peacock, comprised of Andrew Nelson and Blount Floyd. We delve into their creative journey, particularly focusing on their recently released debut full-length album, which showcases their evolution as musicians. Throughout the discussion, we explore the intricacies of building a cohesive musical team, the transformative nature of songwriting over time, and the unique recording experiences within Nashville's vibrant music scene. The dialogue is enriched by the band's reflections on their live performances and the diverse influences that shape their sound. Join us as we uncover the essence of Great Peacock's artistry and the dynamic world of contemporary music.

What We Wrote in 2015

Great Peacock blew me away during a live taping of their song, “Take Me To The Mountain,” nearly 18 months ago. I’ve been anxiously awaiting their debut full-length album, Making Ghosts, ever since. Recently released on This Is American Music, Great Peacock continues with the roots-based anthems and sing-along choruses, more Southern Indie than Americana.

Show Notes

• In this episode, host Sloane Spencer chats with Andrew Nelson and Blount Floyd of Great Peacock, a Nashville-based band blending folk, country, and rock into a sound that’s all their own.
• The focus is on their debut album Making Ghosts, and the journey that led them there, everything from the ups and downs of recording to how their sound has evolved over time.
• Nelson and Floyd talk honestly about the challenges of making a record in today’s music scene. While modern recording tech offers a lot of options, they admit it sometimes slows things down more than it helps.
• They look back fondly on the days when recording was simpler and more immediate, and share a desire to get back to that kind of creative flow in the future.
• Live shows are a big part of where they see themselves heading. They hint at leaning more into an electric sound, which could mark a new phase in their music.
• Songwriting within Great Peacock is a true collaboration. They take a careful, selective approach—making sure each song really connects and adds something meaningful to their overall sound.
• Throughout the conversation, it’s clear that the band is focused on staying true to who they are, even as they grow and adapt. Their commitment to authenticity comes through in everything they do, both in the studio and on stage.

Links

• Great Peacock
• Great Peacock on Bandcamp
• You may also enjoy our conversation with Year of October
• After you buy music or see a show, please toss a few dollars in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Takeaways

• We got into how Great Peacock’s music has grown over the years and what it’s been like building their career in the Nashville music scene.
• A big part of the conversation focused on collaboration, especially with producer Dan Fernandez, and how that relationship helped shape their sound.
• The band opened up about some of the real challenges that come with recording and releasing music today, including the pros and cons of modern technology.
• They shared what it’s like to play live and how their dynamics as a band have shifted over time as they’ve evolved musically.
• Staying true to who they are as artists came up quite a bit. It’s something they’re clearly committed to, even as the industry keeps changing around them.
• We also talked about life on the road and how touring, while tough at times, brings a lot of joy through the connections they make with audiences in different places.

Mentioned in this Episode

• Great Peacock
• CMT
• CMT Edge
• Dan Fernandez
• Wes Floyd and the Daisy Cutters
• Drivin n Cryin
• St. Paul and the Broken Bones
• Apache Relay

Recommended If You Like

Country Fried Rock, Great Peacock band, Nashville music scene, Southern rock music, debut album release, music industry insights, live performance evolution, recording studios in Nashville, songwriting collaboration, folk and rock fusion, Americana music, indie music podcast, band interviews, music production process, touring experiences, album art design, music festival performances, audience engagement, music streaming platforms, Southern musicians.

Transcript

Speaker A

00:00:00.160 - 00:00:41.340

Welcome to Country Fried Rock. I'm your host, Sloane Spencer.

This week I'm finally talking with Great Peacock, a Nashville based band of guys from Alabama that I've been following for a couple of years. Andrew Nelson and Blunt Floyd are the core of Great Peacock in their debut full length album was just released in May 2015.

On this is American Music we talk about building a team, how songs change over time, and stealth recording studios in Nashville, a whole lot more with the guys from Great Peacock today on Country Fried Rock. My guests today conferenced in on the fancy phone are Andrew Nelson and Blunt Floyd, better known together as Great Peacock. Welcome.

Speaker B

00:00:41.500 - 00:00:43.020

Oh, thrilled to be here.

Speaker A

00:00:43.260 - 00:00:55.500

My pleasure.

We kind of run in some of the same circles, so I've known about you all for a very long time, but the first time I ever actually saw you was recording at the CMT studios for CMT Edge.

Speaker B

00:00:55.500 - 00:00:56.060

Yeah.

Speaker A

00:00:56.620 - 00:01:02.860

So lots has happened for y'. All. In the meantime, help us set the stage for what's going on with your debut record.

Speaker B

00:01:03.390 - 00:01:25.230

Well, it finally came out last week. We're thrilled about that. We waited forever for it to come out. It just takes a long time to get stuff ready.

You'd think technology would help out with that, but it doesn't. It kind of slows us down a bit.

I miss the old days or when I heard of the old days of making records and like putting them out quick, you know, doesn't happen anymore.

Speaker A

00:01:26.030 - 00:01:37.770

I don't want to put words in your mouth, but I know that you all have had this ready to roll for quite a while. So what has been changing for you all in terms of live performance in that G? I mean, it's been like more than a year since the record's been done.

Speaker B

00:01:38.170 - 00:02:15.880

The band has changed and evolved quite a bit for a while. We kind of always went through periods where we have like a four piece. Our bass player and our drummer are always with us.

And for a while we were had interchanging sort of melody instruments. Like sometimes we do a show with a fiddle player, sometimes we do a show with a pedal steel player.

And then we recently had somebody with us for a really long time playing electric and that person is no longer with us.

So we're actually kind of entertaining the idea of just being a four piece and being a little less folky and playing a little more electric guitar ourselves. But who knows, after this interview that might not happen. Yeah.

Speaker C

00:02:15.880 - 00:02:41.770

And we've had the guy who produced the record, Dan Fernandez, who actually played with us for a long time before that, has been out with Us for the last couple of runs, and it's been great to just kind of get back to kind of where it all began. And, you know, he's a great person to show off what the record is because he played pretty much all the guitar on it, so that's been fun.

He's gonna be with us this weekend also, and the next weekend after that.

Speaker A

00:02:41.930 - 00:02:44.570

That's cool. Well, how'd y' all initially connect with Dan Fernandez?

Speaker B

00:02:44.890 - 00:02:53.330

Dan lives with one of our best friends in Nashville. And I would go over to hang out with my friend, and I would hear this guy just, like, incessantly playing.

Speaker C

00:02:53.330 - 00:02:56.410

Lead guitar, practicing, practicing.

speaker B

00:02:57.370 - 00:03:08.950

And I was like, do you get tired of that, man? He was like, no, you just eventually drowning out. I was like, well, I guess the good thing is, at least he's really good at.

It's just, you know, 10 hours a day of lead guitar.

Speaker C

00:03:09.510 - 00:03:33.190

And way back when, when we had just started it, the band, because it was just something fun for us to pass the time as far as not getting out of music.

It was our first show, and that guy who lived with him was gonna play bass that show, and he was like, hey, do you mind if Dan comes to play mandolin? And we were like, sure. He hasn't practiced with us, but let's do it. And he nailed it.

And pretty much the only person that plays with us from that first show.

Speaker A

00:03:33.670 - 00:03:38.290

That's crazy. Where did it end up that Dan end working in the producer role?

Speaker B

00:03:38.610 - 00:04:04.290

He had just gotten into that role himself through just passing time. And it's kind of where his heart is, which is why he doesn't play with us all the time. And it just happened. It was really organic. It wasn't forced.

He was just kind of like, well, let's start working together. And I don't remember a single point where we were like, you know, had serious conversations about it.

We just turned around one day, and we were making a record. And then the serious conversations came much later.

Speaker C

00:04:05.090 - 00:04:35.710

Originally recorded Tennessee, actually a studio in Birmingham. When we were recording it, it was just like, all of a sudden, it's like, hey, we're not just producing this as the collective.

He really stepped up and took a spot where we were. We were like, wow, you know, you're kind of producing this track also. That's kind of where it came from.

We were like, well, we could do this whole record with you. And it makes sense because Nashville and we don't have to travel because you throw a rock and there's a studio in Nashville.

Speaker B

00:04:36.910 - 00:04:47.650

You always talk about like, these destination studios. And you're like, man, we had the money. We'd go to this place or we'd go to that place.

And then it's like, you think about it, you're like, well, honestly, why would we ever leave Nashville? Record a record.

Speaker A

00:04:47.650 - 00:05:02.370

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

00:05:02.530 - 00:05:07.570

Hey, this is Andrew Nelson and Bluff Lloyd. We're great Peacock. And we're on Country Fried Rock.

Speaker A

00:05:07.570 - 00:05:09.810

Where did y' all end up recording it, or was it all over the place?

Speaker B

00:05:10.130 - 00:05:12.370

It was actually in a sort of.

Speaker C

00:05:12.370 - 00:05:28.690

Nondescript backyard studio, exactly like you said. It was, like, probably used to be a three or four car garage back in one day. And then they just built it out, and it's just in a neighborhood.

And you walk in the backyard and you open the door.

Speaker B

00:05:28.770 - 00:05:45.000

And Dan's so well connected. He's such a people person that, like, you can't go out to grab a drink without him running into 20 people he knows.

As a result, I mean, it's like we weren't in a professional studio, but we had all the professional gear we wanted or needed. Dan made sure we had it.

Speaker A

00:05:45.080 - 00:06:00.840

I saw you once, then I didn't see you all for, like, a year playing live. And it was definitely folkier, twangier.

And then when I started to hear the later music, I was like, whoa, we got some, like, entire, like, fill the stadium kind of stuff going on here.

Speaker B

00:06:01.400 - 00:06:39.260

We love music. We love pop music. We love country music. We love rock music. We love it all.

I think the reason our music sounds like it does is just because as far as it being southern or leaning more towards folk or something like that, it's just because that's just who we are. But, I mean, we listen to everything and we absorb and soak up everything. So that was just natural. That wasn't planned.

We weren't like, let's be more commercial or popular. It's just we like having songs that people can sing along to, and we like having songs that hit people.

And sometimes hitting people requires more instruments. Sometimes it requires a guitar and a voice, and that's it. It just depends on the.

Speaker C

00:06:39.260 - 00:06:55.840

So everybody evolves.

And that's just kind of what has happened as far as from the EP to now, because there was really technically only one electric guitar part on that first ep, and they're quite A larger song. It just kind of naturally happened that way.

Speaker A

00:06:56.080 - 00:07:01.600

They're kind of anthems. I mean, like, you can hear it one time and, like, have your verse in chorus to sing along.

Speaker B

00:07:02.000 - 00:07:42.220

We're just really picky. I mean, we write together. Not as much as we used to. We need. We've been saying we need to write together more.

But Blunt and I, if we don't like where the song's going, we throw it out quick. I have a saying. I always say, you can't polish a turd. So, I mean, if it's not immediately something that feels really special, we just move on.

We've gotten overwhelming compliments from people that have heard the record, either friends or strangers and fans, and they felt like we didn't have any filler songs on the album. Covered a lot of musical territory, was easy to listen to because the songs were great. And that's not me bragging.

That's just we're so picky about what we'll put out as a song.

Speaker C

00:07:42.220 - 00:08:07.720

It's a great thing about always writing with the same person or another person is you wind up almost being a good editor.

More than, like, even, you know, working together songwriting wise is usually when you sit down to write a song as a regular solo person, no matter what, you're gonna sit down and you finish the song. But kind of the way that me and Andrew work will come with ideas to the table. And, like, that was not good. That one's good.

Speaker B

00:08:07.800 - 00:08:08.240

Wow.

Speaker C

00:08:08.240 - 00:08:10.040

That's it. Let's write that song today.

Speaker B

00:08:10.120 - 00:08:16.160

Blunt has a joke. He likes to always tell me that. He says, that would be a great one on your solo album one day.

Speaker A

00:08:18.240 - 00:08:19.840

Blunt, where are you from originally?

Speaker C

00:08:20.160 - 00:08:24.800

I'm from a small town in South Alabama called Dothan.

Speaker B

00:08:24.800 - 00:08:25.360

Oh, yeah.

Speaker C

00:08:25.600 - 00:08:32.720

Like an hour north of Panama City and kind of close to Montgomery. About two hours from there and two hours from Auburn.

Speaker A

00:08:32.720 - 00:08:34.400

How did you end up getting to Nashville?

Speaker C

00:08:34.560 - 00:09:25.120

Well, it was a little bit of a trek. I went to Auburn for a little bit and decided to go to another college because, well, at that point, really nothing interested me, job wise.

And I transferred to a school in Orlando to go to recording, you know, for recording. And I did that and moved to Nashville because that was where you're supposed to go after you finish Three Best Cities to go to.

My brother had already lived in Nashville, so I was like, well, it's obvious I'm gonna go to Nashville and conquer all the major recording studios in town. And wound up meeting Andrew along the way. And then, you know, one of those weird Things where you're like, oh, this dude's my best friend now.

You know, the first night that you meet, you know, we've been on a musical journey ever since.

Speaker A

00:09:25.280 - 00:09:46.680

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] hey, guys, if y'.

Speaker C

00:09:46.680 - 00:09:54.200

All want to know more about Great Peacock and what's going on with us and where to see us, go see us at ww.grape peacock.com were you ever.

Speaker A

00:09:54.200 - 00:09:55.280

In bands with your brother?

Speaker C

00:09:55.760 - 00:10:13.130

Yes, we were, actually. Andrew was in that band also. It's called West Floyd and the Daisy Cutters. Yeah, we did a record and a half release DP with him way back in the day.

It was really good for especially me because we were young and we learned a lot. What not to do.

Speaker A

00:10:13.450 - 00:10:14.490

Those are good lessons.

Speaker C

00:10:15.290 - 00:10:19.050

Love my brother. Shout out to him, you know, just had his first kid, Gus.

Speaker A

00:10:19.290 - 00:10:23.610

I made his wife cry by telling him to listen to Daniel's song from Loggins and Messina.

Speaker C

00:10:23.690 - 00:10:26.010

Yeah, I heard about that. I heard about that.

Speaker A

00:10:27.130 - 00:10:34.250

And I only did it because it came on after I had my son, and I was, like, driving down the highway, like, bawling my eyes out, like, oh, my God.

Speaker B

00:10:34.250 - 00:10:36.090

I never knew how good this was.

Speaker C

00:10:36.490 - 00:10:48.790

But, yeah, it was great. You know, we learned so much from playing with Wes.

He is a wonderful songwriter in his own right and actually both helped kind of us on our journey to how we write songs today.

Speaker A

00:10:49.190 - 00:10:50.230

Andrew, where are you from?

Speaker B

00:10:50.630 - 00:11:21.170

I grew up outside of Birmingham in a small town called Helena. That was until I was about 14, 15. Then I moved to another town outside of big city in Atlanta, a town called Alpharetta.

And then I went to University of...

Summary

In this episode from 2015, we dive into how Year of October has grown and evolved, especially with the release of their latest album, Golden Days. Phlecia and Josh Sullivan, who started out making acoustic music together, have really expanded their sound. Now performing as a trio, they’ve moved into a heavier, more dynamic style that reflects how far they’ve come.

We talk about the making of Golden Days, which they recorded and produced themselves, something that marks a big step forward in their creative journey. They also share stories from the road, as their regional touring continues to grow.

Of course, Nashville’s music scene plays a big part in their story too. Felicia and Josh talk about how being surrounded by such a rich, competitive environment has shaped their writing, their performances, and how they work together as a team.

This conversation gives a closer look at the way their music has developed over time, and how collaboration has been at the heart of it all.

What We Wrote in 2015

Phlecia & Josh Sullivan are Year of October, creatively and personally joined together. Originally from Kentucky, the band has been in Nashville for a few years, touring regionally and self-recording and self-producing their two albums thus far. Year of October is outside of our circle within Nashville, and I actually discovered them via Bandcamp!

Links

• Year of October
• Year of October on Bandcamp
• You may also like our conversation with Sam Lewis
• After you buy music or see a show, please toss some support into our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Show Notes

• Phlecia and Josh Sullivan talk about how Year of October has evolved over the years, especially with the release of their latest album, Golden Days.
• The duo, originally from Kentucky and now based in Nashville, share how they’ve grown from an acoustic project into a full band with a much bigger sound.
• We dig into their songwriting process, which has always been collaborative, and that teamwork has played a big role in shaping their current style.
• Golden Days is a big milestone for them. It’s a self-recorded, self-produced album that captures where they are now creatively and professionally.
• They talk about hitting the road and expanding their touring efforts across the region, using this album as a way to connect with new audiences.
• Being part of the Nashville music scene has had a major impact on their growth. They open up about what it’s like to navigate such a competitive and inspiring environment.
• Throughout the episode, they offer a real look at what it takes to build a distinct musical identity, and the hard work that goes into every step of that journey.

Takeaways

• Phlecia and Josh Sullivan of Year of October have come a long way since they first started making music together. Their latest album, Golden Days, really shows how much their sound has grown and evolved.
• Golden Days was completely self-recorded and produced, which gave them full creative control. It also helped them take their music to a wider audience through more regional touring.
• Living in Nashville has been a huge part of their journey. Being surrounded by so many talented artists has pushed them to grow, not just as musicians, but also in how they approach live performances.
• They’re already looking ahead to their next album and are excited to keep developing their sound. A lot of that inspiration comes from the connections and experiences they’ve had in the music scene.
• Their focus on authenticity extends beyond the music. Even the album artwork is intentionally simple, something that feels true to who they are and sticks with you.
• When it comes to songwriting, it’s very much a team effort. Phlecia and Josh usually start ideas together and build on them collaboratively, making sure the final product reflects both of their voices.

Mentioned in this Episode

• Year of October
• Bandcamp
• University of Kentucky
• Strange Connections
• Red Ember
• Oliver Ocean
• Sky Temple Blues
• JD Wilkes
• Dirt Daubers
• Dick's Sporting Goods
• John Michael Montgomery
• Drivin n Cryin

Recommended If You Like

Country Fried Rock, Year of October, Sloane Spencer, Phlecia Sullivan, Josh Sullivan, Golden Days album, Nashville music scene, Kentucky musicians, self-produced music, regional touring, acoustic music, indie rock band, Bandcamp recommendations, songwriting process, live performances, Nashville venues, creative community, music collaboration, music industry insights, contemporary folk music

Transcript

Speaker A

00:00:00.160 - 00:00:37.990

Welcome to Country Fried Rock. I'm your host, Sloan Spencer. Today I'm talking with Felicia and Josh Sullivan, better known as the band Year of October.

Their recent album Golden Days demonstrates their growth as a band, working together, primarily writing as a duo, but performing as a trio or full band.

Originally from Kentucky and now residing in Nashville, this self recorded, self produced release is helping Year of October expand their regional touring schedule. Year Never. Guess how I found this band. Coming up in my conversation with Year of October today on Country Fried Rock.

Speaker B

00:00:38.070 - 00:00:43.270

My guests today on Country Fried Rock are Josh and Felicia of Year of October. Welcome.

Speaker C

00:00:43.510 - 00:00:45.030

Thank you. We're glad to be here.

Speaker B

00:00:45.350 - 00:01:01.030

So I was just saying, off the air, I said, I actually found you through Strange Connections via Bandcamp, which Bandcamp totally rules, by the way, but they make suggestions based on things you've purchased in the past, and occasionally I pay attention to that. And I was like, oh, my gosh, I love these people. I need to find them.

Speaker C

00:01:01.550 - 00:01:04.190

That's awesome. I didn't even know Bandcamp made suggestions.

Speaker B

00:01:04.510 - 00:01:11.390

They do. Well, it's. It pops up at the bottom of your screen based on your previous purchases. And I guess they have some magic algorithm.

Speaker C

00:01:11.550 - 00:01:13.150

That's really cool. Yeah.

Speaker B

00:01:13.230 - 00:01:18.910

Yeah. But as I was doing a little homework for the show, I saw that y' all went to University of Kentucky.

Speaker C

00:01:19.150 - 00:01:21.350

Yes, we did. We both graduated from there.

Speaker B

00:01:21.350 - 00:01:23.230

Are you still recovering from basketball season?

Speaker C

00:01:23.470 - 00:01:25.070

Oh, my gosh. It killed me.

Speaker B

00:01:27.630 - 00:01:32.830

Longtime listeners know my husband went to University of Kentucky, so I have learned about basket.

Speaker C

00:01:33.690 - 00:01:37.250

Yes, Blue Bleeds Deep, but it was.

Speaker B

00:01:37.250 - 00:01:43.250

Good for me because I actually understand basketball, unlike the fact that I'm a lifelong Southerner who still doesn't understand football.

Speaker C

00:01:43.250 - 00:01:47.290

Is a whole nother deal. Yeah. If you're in sec, you have to know a little bit about football.

Speaker B

00:01:49.209 - 00:01:53.050

Anyway, well, so sorry for the ending of the season, although the ride up there was great.

Speaker C

00:01:53.450 - 00:01:54.090

Thank you.

Speaker B

00:01:54.490 - 00:01:56.890

As a band, how did you all come together?

Speaker C

00:01:57.290 - 00:02:22.390

Well, Josh and I, we met at UK and we actually dated.

We dated for about a year before we started playing music together because we both knew that we played music separately, but we didn't really want to mess up our relationship if the music stuff didn't work out. So we dated for a year, and then we were like, we should write together.

And so it kind of started with just me and him playing some acoustic songs that we had written, and that's how we started out.

Speaker B

00:02:22.870 - 00:02:24.950

Okay, so that's not the usual story.

Speaker C

00:02:25.510 - 00:02:25.910

No.

Speaker B

00:02:26.790 - 00:02:30.550

You were dating, then you said, hey, let's write together, and then where did it go?

Speaker C

00:02:31.020 - 00:02:58.620

Well, we wrote several songs and then we got some of our friends together because we knew the songs we were writing. We love acoustic music, but what we wanted to do was not play in an acoustic band.

So we were writing for a full band, and so we got some friends together, and then we started filling the songs out and making it into the more rock music that we play. And so that's where it went, and that's how it was when we recorded our first album. We were just still feeling things out.

Speaker B

00:02:59.140 - 00:03:01.300

Things have expanded for y' all musically since then?

Speaker C

00:03:01.780 - 00:03:22.980

Oh, yes, yes. Much more. We found our sound a little more, and in the first album, like I said, we were filling things out and we didn't really have a set band.

We were just getting it done so we could get our name out there to get shows. So with this album, we had a set band.

It was me, Josh and Greg who played drums with us, and it made it a little more fluid on Golden Days, I feel like.

Speaker B

00:03:23.460 - 00:03:30.620

And so then when y' all are playing out live, you were able to use the same people that you took into the studio or did you add some other folks when y' all recorded?

Speaker C

00:03:30.940 - 00:03:48.540

It's pretty much the same people. Right now. We just play as a three piece.

Josh, and it was Greg, but he just recently moved back to Utah, so we've got another guy playing drums with us. But what we added in the studio on Golden Days was bass, because Josh is originally a bass player, so he played bass and guitar on the record.

Speaker A

00:03:48.780 - 00:03:58.060

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

Speaker B

00:03:58.140 - 00:03:59.730

Thank you all so much.

Speaker A

00:04:00.920 - 00:04:03.560

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

Speaker C

00:04:03.640 - 00:04:07.240

Hey, this is Alicia from Year of October on Country Fried Rock.

Speaker B

00:04:07.320 - 00:04:10.520

Y' all have been playing kind of around the region, I guess.

Speaker C

00:04:10.840 - 00:04:35.860

Yeah, we play in Nashville sometimes during the week because we both work full time jobs at a bank during the day to support what we want to do. So we work playing Nashville during the week, and it's a lot of fun.

Play shows with a lot of our friends, and then on the weekends, we travel all around Tennessee and back into Kentucky to our homes. And we played in Alabama a little bit, and the shows are great.

It's always different crowds, but all the people are really receptive of our music and it's a lot of fun to play it.

Speaker B

00:04:36.260 - 00:04:40.740

I should have said that y' all have been in Nashville for a while, even though you originally formed In Lexington.

Speaker C

00:04:40.900 - 00:04:45.620

Yes. Yeah. Yeah. We've been in Nashville going on four years. Yeah, almost four years now.

Speaker B

00:04:46.020 - 00:04:49.300

What does being in such a creative community like that do for you all?

Speaker C

00:04:49.860 - 00:05:28.000

It's really crazy. I never really knew what it was like until I moved down there. And working at the bank has opened my eyes to see that everyone really does play music.

Like, everyone we meet. Like, oh, I either write or I play in this band or I'm a producer.

Like, everyone you meet has something to do with the music industry, and it's been really cool. And I think that that has made us better musicians because playing in Nashville, you have to be on top of your game every single show.

Everybody watching you is a musician, and they're all great. So you are like, I have to live up to that standard.

So I think that living in Nashville has probably made us better in our performance and better in everything.

Speaker B

00:05:28.240 - 00:05:31.920

Do you have particular venues you enjoy? I know everybody kind of has their little pet places.

Speaker C

00:05:32.960 - 00:05:42.980

We really like playing. There's a place called Pooh Bar in East Nashville and then Spring Water Supper Club over by Centennial Park. Both of those are a lot of fun for us.

Speaker B

00:05:43.380 - 00:05:52.260

I'm familiar with both. That's a little bit outside of the normal loop of folks that we have gotten to know through the show. So who else is in your circle musically?

Speaker C

00:05:52.660 - 00:06:26.800

We've been playing with some people actually from my hometown that have recently moved to Nashville.

I'm from Western Kentucky and a little bitty tip and a bunch of people from there are moving to Nashville now because it's only about a two hour drive. We have a band called Red Ember that plays with us. Yeah, they're kind of alt bluegrassy kind of thing.

They have a Punch Brothers feel and they're awesome. We play with them a lot. There's another band called Oliver Ocean that we play with, and then there's some guys called Sky Temple Blues.

They fit our sound a little better. They're a bluesy rock band. They're awesome.

Speaker B

00:06:26.960 - 00:06:29.440

JD Wilkes is from Paducah originally as well.

Speaker C

00:06:29.440 - 00:06:30.400

Yeah, yeah, he is.

Speaker B

00:06:30.480 - 00:06:37.530

He was on the show a while back with Dirt Daubers and, you know, all his various projects. But Paducah is a funky little creative community now as well.

Speaker C

00:06:37.770 - 00:06:53.210

Yeah, it's awesome. Since I moved, actually, they've really grown a lot in the music industry. I know they did that.

They had that initiative to bring in artists from all over the world to downtown Paducah to build it back up, and that's really helped the creative movement in Paducah.

Speaker D

00:06:53.210 - 00:06:53.610

A lot.

Speaker B

00:06:53.690 - 00:06:55.930

It transformed it. I mean, it really did.

Speaker C

00:06:55.930 - 00:07:06.440

Yeah, it was awesome. They started that probably my senior year of high school, maybe a little before that.

And so I left and then all of this awesome stuff came to downtown Paducah. So it's cool to go back home now.

Speaker B

00:07:06.440 - 00:07:16.920

Lake City, South Carolina, which has neither a lake nor is it a city, is actually doing something similar. And it's, it's not there where Paducah is yet. But I mean, it's stunning the difference just in two years.

Speaker C

00:07:16.920 - 00:07:17.800

It's crazy.

Speaker B

00:07:18.040 - 00:07:25.400

As I said, I lived in Kentucky for five years and my brother in law lives in Owensboro, so I don't get quite as far west as Paducah, but I'm familiar with the area.

Speaker C

00:07:25.480 - 00:07:28.840

Yeah, yeah, we played Owensboro not too long ago. That's good.

Speaker B

00:07:29.150 - 00:07:29.470

Cool.

Speaker A

00:07:29.550 - 00:07:39.870

I'm your host, Sloan Spencer. You can keep in touch with us on Facebook. But I really like Twitter where we are at Country Fried Rock ending with R O K. And if you want.

Speaker B

00:07:39.870 - 00:07:41.390

To see pictures of my shoes, my.

Speaker A

00:07:41.390 - 00:07:48.230

Dog and my lunch, stop by Instagram. But whatever way you like to hang out, stop by and say, hey, hey.

Speaker C

00:07:48.230 - 00:07:57.740

This is Alicia from Year of October on Country Fried Rock. If you want to find out more about us and where we're playing, you can check us [email protected] it's neat to.

Speaker B

00:07:57.740 - 00:08:11.860

Hear overlap of different circles of folks in music that are based in Nashville.

Now when you all are doing the shows, are you trying to partner up with other bands when you go places or do you have bands in those places that you're looking to team with?

Speaker C

00:08:12.740 - 00:08:38.800

Yeah, we partner up a lot of the times when we go to Paducah, we play with the same sort of people that we're playing with in Nashville now because we both have big draws back there and so it's fun to be able to travel with your friends. But we also, we go up to Lexington a lot and play and we have a lot of friends up there that are different.

We play with different bands when we go up there. But it's really cool. We've got a good vibe going now. People who are really supportive. That's great, everybody.

Speaker B

00:08:39.360 - 00:08:44.800

So tell me a little bit more about getting into record specifically for what became Golden Days.

Speaker C

00:08:45.200 - 00:08:56.370

I'm going to pass the phone off to Josh for that one because he actually produced the record. He went to school for audio engineering so we do it at our house and he does all of it. So I'm going to has the phone up.

Speaker B

00:08:56.610 - 00:09:01.570

Question was, tell me a Little bit about what ultimately became the recording for Golden Days.

Speaker D

00:09:02.050 - 00:09:57.280

It was pretty interesting because, like Felice was saying, with the first record, it was not only was it the first record we did as a band, it was the first record that I had produced. And then I'd recorded myself. I'd done some single tracks. So doing Golden Days, I had a little bit more of a feel as to what I was going for.

And it was definitely a process. Each song was, you know, we took it song by song and, you know, we'd lay down all the drum parts first.

We have scratch vocals with guitar, and those were just scratch tracks. And then we'd lay down the drums, and then I would kind of layer everything else over top of it.

It was pretty exciting because there were some songs that were very fresh and we could really develop them more in the studio. And our...

Summary

This podcast episode from 2015 features an in-depth conversation with renowned Nashville-based songwriter Sam Lewis, who is currently promoting his latest album, Waiting on You, released under Brash Records. The discussion delves into the intricacies of Lewis's artistic journey, highlighting his extensive touring experiences across the United States and Europe, which have profoundly influenced his songwriting process. Notably, the album showcases a remarkable collaboration with esteemed musicians, including the likes of Mickey Raphael and Oliver Wood, thus bridging the gap between established legends and emerging talent in the music industry. Throughout our dialogue, we explore the dynamic evolution of Lewis's songs, particularly in live performances, emphasizing how they adapt and transform over time. This episode serves as a testament to the vibrant and collaborative spirit of Nashville's music scene, offering listeners a unique glimpse into the life and artistry of Sam Lewis.

What We Wrote in 2015

Sam Lewis first crossed our radar on a video from Music City Roots, but the timing was off to feature him on the show. As Lewis has toured more in the US & UK, he has built a following and honed his songs, yielding a his new Waiting On You album, recorded with some of Music City’s Americana elite at an historic studio, Southern Ground (recently purchased by Zac Brown). When folks like Brandon Bell champion you to Darrell Scott, Will Kimbrough, Mickey Raphael, Gabe Dixon, and the McCrary Sisters, then you know that your record will sparkle.

Show Notes

In this episode, host Sloane Spencer sits down with Nashville-based songwriter Sam Lewis for an engaging conversation about his latest album, Waiting on You, out now via Brash Records.

The episode kicks off with a look back:

• Sam reflects on how he first caught listeners' attention through Music City Roots videos.
• Those performances featured him alongside a wide range of talented musicians, helping set the stage for his career.

A big focus of the conversation is on the stellar collaborations featured on Waiting on You:

• Recorded at the legendary Southern Ground Studio (owned by Zac Brown).

The album brings together an incredible lineup, including:

• Mickey Raphael (Willie Nelson’s harmonica player)
• Will Kimbrough
• Gabe Dixon
• The McCrary Sisters

Sloane and Sam chat about how these musical heavyweights add depth and soul to the record.

Sam also opens up about his touring journey:

• Over the past year, he's traveled across the U.S. and even toured Europe.
• Shared stages with legends like Merle Haggard and Marty Stuart.
• Touring helped shape his sound and his songs, which he describes as “living things” that grow and evolve with each performance.

Later in the episode, the focus shifts to the making of the album:

• Sam shares how a chance connection led him to work with Oliver Wood (of The Wood Brothers), who ended up producing the album.
• The recording process was fast but powerful, thanks to the vibe at Southern Ground and the support of engineer Brandon Bell.

By the end of the episode:

• Listeners get a full picture of Sam’s creative journey, from songwriting roots to meaningful collaborations.
• Waiting on You is more than an album: it's a testament to the community, spontaneity, and soul that fuels Sam Lewis’s music.

Links

• Sam Lewis
• You may also enjoy our conversation with Mic Harrison
• After you buy music or see a show, we would love your support with a few bucks in our Tip Jar
• Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars

Takeaways

• Sam Lewis talks through the making of his new album, Waiting on You, and shares stories from his journey as a Nashville songwriter. It’s a deep dive into both his personal growth and the creative partnerships that brought the record to life.
• He opens up about how his songs change and grow when he plays them live. For Sam, they’re not set in stone, each performance helps shape them into something new.
• The album came together fast, just two and a half days in the studio. Sam shares how that quick turnaround was possible thanks to the chemistry and talent of the musicians involved.
• He also reflects on working with some incredible collaborators, from seasoned pros to rising stars. Their contributions, he says, really elevated the sound and feel of the record.
• Touring is a big part of Sam’s story. He talks about how life on the road, and connecting with different audiences, has helped shape his music in meaningful ways.
• And for fans of vinyl, there’s an interesting look at how the format influenced the album. Sam explains how thinking in terms of Side A and Side B helped guide the flow and feel of the whole project.

Mentioned in this Episode

• Brash Records
• Music City Roots
• Southern Ground
• Zac Brown
• Mickey Raphael
• Willie Nelson
• Will Kimbrough
• Gabe Dixon
• McCrary sisters
• Alan Thompson Band
• Brandon Bell
• Oliver Wood
• Wood Brothers
• Giano Jono
• Kenny Vaughn
• JT Cure
• Derek Mixon
• Christina Trains
• Daryl Scott
• Merle Haggard
• Marty Stewart
• JD McPherson
• Chris Stapleton
• Todd Snyder
• Steve Jones
• Brash Music
• Al Moss
• Eddie's Attic
• Red Clay Theater
• Drivin n Cryin
• Steve Soto
• Twisted Hearts

Recommended If You Like

country music podcast, Sam Lewis interview, Nashville songwriter, Waiting on you album, Brash Records, Music City Roots, Southern Ground studio, country music touring, songwriting process, live performance tips, independent music scene, vinyl records, new country music, emerging artists, collaboration in music, songwriting evolution, music industry insights, acoustic music, album production, country music festivals

Transcript

Speaker A

00:00:00.160 - 00:00:58.220

This week on Country Fried Rock, I'm talking with a Nashville based songwriter named Sam Lewis with a brand new record called Waiting on youn out now on Brash Records.

I first discovered Lewis watching some of the best of Music City Roots videos along with a variety of other Country Fried Rock alumni on there, including folks like the Alan Thompson Band. Pairing legends and emerging songwriters is exactly what this record does.

Recorded at Southern Ground, the studio is currently owned by Zach Brown and with stellar playing from folks like Mickey Raphael, Willie Nelson's harmonica player, Will Kimbrough, Gabe Dixon and the McCrary sisters waiting on you make Sam Lewis's song sparkle. Today on Country Fried Rock, I'm your host, Sloan Spencer.

My guest today on Country Fried Rock is a guy named Sam Lewis who I first saw on Music City Roots. He's got a brand new record called Waiting on you. Welcome.

Speaker B

00:00:58.800 - 00:00:59.760

Thank you for having me.

Speaker A

00:01:00.000 - 00:01:07.840

This is fun. I truly did. First to see you on Music City Roots a while back. Tell me a little bit about what you've had going on in the last year or so.

Speaker B

00:01:08.080 - 00:01:35.680

Oh man, quite a bit. Quite a lot of touring. Been touring a lot of the states. I did a west coast run east to west last year.

Got to play a lot of great shows with my favorite people, Merle Haggard and Marty Stewart and folks like that, and got to do a couple European tours, mostly based in the uk and made a new record in the middle of all and made a lot of new friends and wrote some new songs. So I think it's almost time to make another record.

Speaker A

00:01:37.440 - 00:01:42.400

What has been changing for you musically in this large bit of touring?

Speaker B

00:01:42.800 - 00:02:29.600

It's funny, when you record songs, some of them are, you know, a little older and some are a little newer. I continue to enjoy and learn how the songs can evolve, especially in a performing, live setting.

Songs are living things and, you know, they can be documented numerous times.

That's kind of what I've learned most after last year, you know, especially going into the studio in the middle of the touring and then coming out the other end and already playing some of these songs a little differently than the way I recorded them, even though they're, you know, a few months old.

That's been an interesting thing, you know, and exploring and getting to travel to newer, you know, cities and states and countries that I'd never thought in a million years that I would ever be visiting. And now I'm leaving little pieces of myself behind and insanely rewarding on this.

Speaker A

00:02:29.600 - 00:02:32.040

Most recent run of touring. Have you been doing that solo?

Speaker B

00:02:32.360 - 00:02:41.240

Yes, I'm in the solo world as we speak. Been working on a duo act and a couple other things, but it's mostly solo out there in my old Honda Element.

Speaker A

00:02:41.400 - 00:02:43.960

Oh, I drove one for 10 years. Best car ever.

Speaker B

00:02:44.200 - 00:02:49.800

Ever, right? Best car ever. You know, I've preferred the sleep in mine versus some hotels that I've had to.

Speaker A

00:02:49.800 - 00:02:53.570

I could talk about the Honda Element all day long. And camping. That is the best car ever.

Speaker B

00:02:53.730 - 00:02:57.490

It is. It's a good one, man. So, yeah, I don't know why they quit making them seriously.

Speaker A

00:02:57.970 - 00:02:58.930

But we digress.

Speaker B

00:02:59.010 - 00:03:02.050

Hey, folks, this is Sam Lewis on Country Fried Rock.

Speaker A

00:03:02.210 - 00:03:24.300

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. You were able to record this record waiting on you with some incredible folks.

How did all that come to be?

Speaker B

00:03:24.460 - 00:04:15.860

I paid them a lot of money. No, I'm kidding. I'm kidding. Actually, I still owe them a lot of money.

You know, I've been in Nashville for about seven years, and I've been insanely fortunate to meet. Not only meet and know, but work with some of my personal favorite musicians and songwriters in this town.

Some of the people that played on the record are people that I've known for, you know, four, five, six, going on six years, and some that I've known about for a long time.

But the circle gets a little bigger and you get to know people a little bit more as you spend time and to get to work around some of the musicians and songwriters that are on the album. So a lot of that was spearheaded by the engineer. His name is Brandon Bell.

He's the chief engineer at Southern Ground, and he was responsible for my first record and the second record for sounding really as good as it does. And he introduced me to Oliver Wood, who. Of the Wood Brothers.

Speaker A

00:04:15.860 - 00:04:16.420

Yeah.

Speaker B

00:04:16.660 - 00:05:35.480

So Oliver does a lot of things at Southern Ground, and of course, he's in a fantastic band with his brother Chris Wood. And Giano Jono's actually featured on the album as well, playing piano. Not drums, but piano. One of my favorite attributes to the album.

But anyway, he introduced me to Oliver. About a year ago, me and Oliver just started talking about music and what we loved and what we wanted to do and all that.

And I just asked him if he'd be interested in helping me make a record and producing a new album, basically my second album ever. And he was into it.

And so we just immediately started talking about the songs, what exactly we were working with and what we heard and kind of what our resources offered. And they obviously offered quite a bit. We were very fruitful. Will Kimbrough and Gabe Dixon and Kenny Vaughn I've worked with a lot.

All of it's grown out of JT Cure and Derek Mixon, who are the rhythm section on the album. Two of my favorite people in the whole wide world. Christina Trains featured great vocalist from Savannah, Georgia. She's fantastic.

I learned a lot from her. And the McQuarrie sisters, who also featured Daryl Scott, made an appearance.

And probably my favorite hour at the interrogation was when Mickey Raphael came in and played harmonica on a song called Texas.

Speaker A

00:05:36.270 - 00:05:36.710

That's a big deal.

Speaker B

00:05:36.710 - 00:05:40.830

I originally wrote that with him in mind, and that was quite serendipitous, to say the least.

Speaker A

00:05:41.070 - 00:05:45.710

How did you end up getting connected with Southern Ground? Because the studio alone is historic.

Speaker B

00:05:46.030 - 00:06:37.850

I've known about the studio for a while, even before Zach Brown bought it, and has made it what it is. It's an amazing environment that he's created here.

But I was introduced to the studio and Brandon Bell, like I said, he's the chief engineer at the studio, and I visited him a couple times when he was working on some projects and just kind of fell in love with the place. And I never thought that I would actually make a record there.

But, you know, when I started talking to Oliver, we were looking at some studios and it just kind of naturally happened to bring the session here. You know, I was extremely excited about it and realized, you know, what, all we had to work with.

And most of the time I have way too much than I really need. So we did the album actually in just two and a half days. It was fast paced, but we had just enough time to do what we needed to do.

So that's how I was introduced to Southern Ground. This is Sam Lewis, and you can check my music out@sam lewistunes.com Hey, y'.

Speaker A

00:06:37.850 - 00:07:12.770

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] what a great opportunity on a lot of different levels to be able to bring your songs to people with that kind of support behind it. How do you adapt that from this incredibly layered recorded version with These awesome dudes to what you're doing on your own.

Speaker B

00:07:13.570 - 00:07:42.340

Solo acoustic versions were there before, you know, the record was. So it's just what you do. You just play the song. That's all I have.

And fortunately, I was able to add some color to those sketches with some fantastic musicianship. But, yeah, that's kind of it. I'm just a songwriter. That's about it. That's what I do. I just play the songs and hope that they get across.

And if you buy the album, you're gonna get more than, I think, probably what you asked for, which I think is a really good situation to be in.

Speaker A

00:07:42.500 - 00:07:45.700

So were these songs that you had already played live before you recorded them?

Speaker B

00:07:46.020 - 00:08:33.350

A few of them.

I had half of that album pinned and was already exercising those songs in live settings for probably about a year, year and a half before I documented them on this new album. And then there was a few new ones that came into play last year, you know, when we started filling out what I had to work with.

And we had probably about 20 songs to kind of pick and choose from and figure out what we were looking at. And then I wrote a few new ones in the summertime when I was over in England and added them to the mix.

And, you know, they just kind of sorted themselves out. Some of them, they're pretty oiled and greased, especially in the live setting. And some. I'm still moving around a bit. They're still demanding to.

They're wanting a little more attention, you know, as far as the recording and the album, I think we bottled something really good on every one of them. I don't think there can really be.

Speaker A

00:08:33.350 - 00:08:39.110

Beat you were able to get some independent label support for this record. Tell me about how that relationship came around.

Speaker B

00:08:39.430 - 00:09:43.490

Yeah, that's great. I was introduced to Steve Jones, who's the CEO of Brash Music. I was introduced to him by a friend and by the name of Al Moss.

He's a fantastic radio promoter and just a fantastic human being. And he turned Steve on to my music a couple years ago, and I was introduced to Steve.

He started coming to some of the shows I was playing in Atlanta there at Eddie's Attic, Red Clay Theater there, and Duluth.

You know, we talked about what I was up to and what I wanted to do, and he was just really interested and very, very intrigued and asked how he could help. You know, I came back from England last summer and I had a record contract waiting on me and immediately went to work and made the album.

A couple months after that, pretty Fast paced. But, you know, I was introduced to Steve and brash music and they've been absolutely amazing to work with. I'm very spoiled, to say the least.

To not just have the opportunity, but to be able to work with these amazing people that I can call them anytime about anything. They're always there, open arms and they're very creative.

Speaker A

00:09:43.570 - 00:09:49.890

Well, so I know that you're fixing to be, as we say here in the south, fixing to be on the road quite a bit. How did some of these come about?

Speaker B

00:09:50.530 - 00:10:44.500

You know, I have my normal haunts that I go and play. My normal cities and towns, you know, strongest in the southeast, of course. And the circle has grown quite a bit in just the past couple years.

And some of those are solo shows. And some of them I'm fortunate enough to be supporting...

Summary

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

What We Wrote in 2015

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

Show Notes

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

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

Links

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

Takeaways

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.160 - 00:00:27.920

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

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

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

Speaker B

00:00:27.920 - 00:00:28.120

The first.

Speaker A

00:00:28.190 - 00:00:40.190

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

Speaker B

00:00:40.350 - 00:00:49.870

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

Speaker C

00:00:50.190 - 00:00:51.390

Hey, thanks for having us.

Speaker B

00:00:51.390 - 00:00:59.030

I'm glad to make this happen.

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

Speaker A

00:00:59.030 - 00:00:59.550

Thank you.

Speaker C

00:00:59.550 - 00:01:03.850

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

Speaker B

00:01:04.170 - 00:01:13.050

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

Speaker C

00:01:13.610 - 00:01:32.230

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

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

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

Speaker B

00:01:32.230 - 00:01:35.670

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

Speaker C

00:01:35.990 - 00:01:49.190

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

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

Speaker B

00:01:49.350 - 00:01:55.510

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

Speaker C

00:01:56.110 - 00:01:56.350

Really?

Speaker B

00:01:56.430 - 00:01:57.310

I think so.

Speaker C

00:01:57.310 - 00:01:58.790

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

Speaker B

00:01:58.790 - 00:02:00.270

One of our most popular programs ever.

Speaker A

00:02:00.270 - 00:02:00.990

As a matter of fact.

Speaker C

00:02:02.350 - 00:02:02.910

Of course.

Speaker B

00:02:03.950 - 00:02:07.150

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

Speaker C

00:02:07.150 - 00:02:13.310

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

Speaker B

00:02:13.550 - 00:02:20.270

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

Speaker C

00:02:20.350 - 00:02:28.960

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

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

Speaker B

00:02:28.960 - 00:02:31.240

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

Speaker C

00:02:31.240 - 00:02:48.320

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

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

Speaker B

00:02:50.320 - 00:02:52.640

So y' all are longtime professional buddies?

Speaker C

00:02:53.000 - 00:03:03.280

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

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

Speaker A

00:03:03.280 - 00:03:22.454

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

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

Speaker B

00:03:22.706 - 00:03:28.160

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

Speaker C

00:03:28.400 - 00:03:28.800

Hello.

Speaker D

00:03:28.800 - 00:03:29.760

Thanks for having us.

Speaker B

00:03:29.920 - 00:03:34.480

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

Speaker D

00:03:34.640 - 00:04:53.180

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

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

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

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

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

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

Speaker B

00:04:53.420 - 00:04:55.660

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

Speaker A

00:04:55.660 - 00:04:56.460

Back in November.

Speaker D

00:04:56.700 - 00:06:48.560

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

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

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

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

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

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

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

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

You think so?

Speaker C

00:06:48.560 - 00:06:49.440

Would you do it?

Speaker D

00:06:49.440 - 00:06:52.480

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

Speaker C

00:06:52.480 - 00:06:53.760

No, I don't really know.

Speaker D

00:06:54.290 - 00:07:59.950

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

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

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

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

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

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

Speaker B

00:08:00.270 - 00:08:08.590

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

Speaker D

00:08:09.150 - 00:09:02.900

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

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

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

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

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

Speaker C

00:09:03.060 - 00:09:09.540

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

Speaker A

00:09:09.700 - 00:09:24.420

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

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

Speaker C

00:09:24.950 - 00:09:32.630

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

Speaker B

00:09:32.710 - 00:09:37.990

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

Speaker D

00:09:38.550 - 00:11:07.460

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

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

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

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

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

Summary

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

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

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

What We Wrote in 2015

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

Show Notes

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

Links

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

Takeaways

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.240 - 00:00:33.190

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

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

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

Speaker B

00:00:33.430 - 00:00:39.110

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

Speaker C

00:00:39.270 - 00:00:40.710

Thank you so much for having me, Sloan.

Speaker B

00:00:40.870 - 00:00:55.840

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

How did bones of J.R. jones develop?

Speaker C

00:00:56.240 - 00:01:13.520

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

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

Speaker B

00:01:13.520 - 00:01:15.040

What kind of blues spoke to you?

Speaker C

00:01:15.440 - 00:01:40.700

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

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

Speaker B

00:01:40.700 - 00:01:48.300

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

Speaker C

00:01:48.540 - 00:01:56.200

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

Speaker B

00:01:56.200 - 00:02:05.840

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

Speaker C

00:02:06.560 - 00:02:53.420

A happy coincidence, I guess.

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

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

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

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

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

Speaker B

00:02:53.640 - 00:02:57.560

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

Speaker C

00:02:57.640 - 00:03:04.440

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

Speaker A

00:03:04.520 - 00:03:19.240

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

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

Speaker C

00:03:19.640 - 00:03:22.200

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

Speaker B

00:03:22.200 - 00:03:25.480

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

Speaker C

00:03:25.560 - 00:03:50.890

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

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

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

Speaker B

00:03:50.890 - 00:03:54.250

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

Speaker C

00:03:55.050 - 00:04:15.210

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

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

Letting them help them guide you.

Speaker B

00:04:15.210 - 00:04:25.970

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

Speaker C

00:04:26.370 - 00:05:19.170

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

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

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

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

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

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

Speaker B

00:05:19.410 - 00:05:21.650

So how did you and Charles Newman connect again?

Speaker C

00:05:21.650 - 00:05:57.790

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

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

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

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

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

Speaker B

00:05:57.870 - 00:05:59.550

So what studio did you all go to?

Speaker C

00:05:59.790 - 00:06:23.340

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

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

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

Speaker A

00:06:23.340 - 00:06:44.460

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

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

Speaker C

00:06:44.460 - 00:06:50.780

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

Speaker B

00:06:51.260 - 00:07:00.300

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

Speaker C

00:07:00.380 - 00:07:35.560

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

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

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

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

Speaker A

00:07:35.800 - 00:07:36.760

Who mixed it for you?

Speaker C

00:07:37.010 - 00:08:03.170

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

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

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

Speaker A

00:08:03.400 - 00:08:05.240

Where did you end up having that vinyl pressed?

Speaker C

00:08:05.240 - 00:08:19.960

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

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

Speaker B

00:08:20.120 - 00:08:32.450

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

Speaker C

00:08:32.610 - 00:09:20.450

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

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

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

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

Speaker A

00:09:20.450 - 00:09:38.390

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

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

Speaker C

00:09:38.390 - 00:09:43.350

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

Summary

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

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

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

What We Wrote in 2015

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

Show Notes

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

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

Links

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

Takeaways

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

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

Mentioned in this Episode

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

Recommended If You Like

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

Summary

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

What We Wrote in 2015

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

Show Notes

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

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

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

Chapters

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

Links

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

Takeaways

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.240 - 00:00:28.950

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

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

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

Speaker B

00:00:29.190 - 00:00:38.150

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

Speaker C

00:00:38.870 - 00:00:39.910

Thanks for having me.

Speaker B

00:00:40.630 - 00:00:50.710

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

Speaker C

00:00:51.350 - 00:01:17.850

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

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

Speaker B

00:01:18.410 - 00:01:23.210

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

Speaker C

00:01:24.730 - 00:01:52.150

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

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

Speaker B

00:01:52.390 - 00:01:54.630

Was there anything different in taking these.

Speaker A

00:01:54.630 - 00:01:56.310

Songs to record for a record?

Speaker C

00:01:57.270 - 00:02:03.750

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

Speaker B

00:02:03.830 - 00:02:04.550

Oh, cool.

Speaker C

00:02:04.710 - 00:02:50.890

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

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

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

Speaker B

00:02:51.610 - 00:02:55.290

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

Speaker C

00:02:55.530 - 00:03:11.910

He can do everything cool, build you a house.

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

Speaker B

00:03:13.030 - 00:03:17.670

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

Speaker C

00:03:18.070 - 00:04:43.540

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

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

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

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

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

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

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

Speaker A

00:04:43.540 - 00:05:02.150

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

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

Speaker C

00:05:02.150 - 00:05:05.430

This is Andy Gabbard and this is Country Fried Rock.

Speaker B

00:05:05.590 - 00:05:08.790

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

Speaker C

00:05:08.950 - 00:05:31.100

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

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

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

Speaker B

00:05:31.980 - 00:05:32.380

Right.

Speaker C

00:05:32.380 - 00:05:33.580

But we're not like that.

Speaker B

00:05:34.860 - 00:05:36.380

Even if Chris does love your band.

Speaker C

00:05:36.460 - 00:06:28.950

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

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

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

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

Speaker B

00:06:29.750 - 00:06:32.390

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

Speaker C

00:06:32.870 - 00:07:57.310

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

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

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

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

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

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

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

Speaker B

00:07:57.630 - 00:08:05.420

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

Speaker C

00:08:06.140 - 00:09:07.720

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

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

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

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

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

Speaker A

00:09:08.360 - 00:09:08.880

Hey, y'.

Speaker C

00:09:08.880 - 00:09:08.960

All.

Speaker A

00:09:08.960 - 00:09:23.160

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

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

Speaker C

00:09:23.470 - 00:09:34.590

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

Speaker B

00:09:34.990 - 00:09:37.790

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

Speaker C

00:09:38.190 - 00:10:25.410

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

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

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

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

Speaker B

00:10:25.650 - 00:10:27.490

So where did the title fluff come from?

Speaker C

00:10:28.050 - 00:10:48.420

It just came from that song.

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

Speaker B

00:10:50.260 - 00:10:52.420

Did you work with anyone in particular for the art?

Speaker C

00:10:52.980 - 00:11:19.910

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

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

Speaker B

00:11:21.030 - 00:11:23.670

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

Speaker C

00:11:24.310 - 00:11:43.030

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

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

Speaker B

00:11:43.030 - 00:11:47.910

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

Speaker C

00:11:48.550 - 00:12:41.830

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

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

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

Summary

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

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

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

What We Wrote in 2015

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

Show Notes

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

Links

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

Chapters

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

Takeaways

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.160 - 00:01:19.200

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

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

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

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

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

Speaker B

00:01:19.200 - 00:01:20.480

Thank you. Thanks for having me.

Speaker A

00:01:20.720 - 00:01:23.850

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

Speaker B

00:01:23.850 - 00:02:05.850

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

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

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

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

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

Speaker A

00:02:05.930 - 00:02:09.289

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

Speaker B

00:02:10.010 - 00:03:14.190

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

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

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

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

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

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

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

Speaker A

00:03:14.350 - 00:03:20.730

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

Speaker B

00:03:21.530 - 00:04:42.470

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

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

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

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

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

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

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

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

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

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

Speaker A

00:04:42.470 - 00:04:42.990

Hey, y'.

Speaker B

00:04:42.990 - 00:04:43.070

All.

Speaker A

00:04:43.070 - 00:04:57.170

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

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

Speaker B

00:04:57.330 - 00:04:59.970

Hey, this is Lee Gallagher on Country Fried Rock.

Speaker A

00:05:00.210 - 00:05:01.730

And where did you go to record that?

Speaker B

00:05:01.970 - 00:05:27.110

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

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

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

Speaker A

00:05:27.110 - 00:05:27.710

Oh, my gosh.

Speaker B

00:05:27.870 - 00:05:49.070

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

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

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

Speaker A

00:05:49.610 - 00:05:53.450

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

Speaker B

00:05:53.610 - 00:06:05.210

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

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

Speaker A

00:06:05.450 - 00:06:07.210

What was the name of that other record?

Speaker B

00:06:07.690 - 00:06:37.830

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

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

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

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

Speaker A

00:06:38.070 - 00:06:43.430

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

Speaker B

00:06:44.070 - 00:07:47.740

Well, that was kind of funny.

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

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

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

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

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

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

And they said it was me in spirit being there.

Speaker A

00:07:48.300 - 00:07:52.980

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

Speaker B

00:07:52.980 - 00:08:47.360

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

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

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

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

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

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

Speaker A

00:08:47.440 - 00:08:51.440

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

Speaker B

00:08:51.760 - 00:09:36.490

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

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

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

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

Speaker A

00:09:36.490 - 00:09:58.690

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

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

Speaker B

00:09:58.930 - 00:10:09.380

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

Speaker A

00:10:09.380 - 00:10:10.620

Do you all listen to currently?

Speaker B

00:10:11.260 - 00:11:13.970

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

Summary

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

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

Here's What We Wrote in 2015

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

Show Notes

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

Links

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

Chapters

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

Takeaways

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

Mentioned in this Episode

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

Recommended If You Like

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

Transcript

Speaker A

00:00:00.080 - 00:01:32.150

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

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

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

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

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

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

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

Speaker B

00:01:32.310 - 00:01:33.270

Hey, how's it going?

Speaker A

00:01:33.430 - 00:01:41.990

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

Speaker B

00:01:42.630 - 00:02:34.000

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

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

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

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

Speaker A

00:02:34.160 - 00:02:35.040

Oh, my goodness.

Speaker B

00:02:35.040 - 00:02:35.520

Yeah.

Speaker A

00:02:35.600 - 00:02:37.120

So Belmont is pretty intense.

Speaker B

00:02:37.600 - 00:03:55.650

Yeah, it was.

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

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

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

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

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

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

Speaker A

00:03:55.650 - 00:03:56.170

Hey, y'.

Speaker B

00:03:56.170 - 00:03:56.210

All.

Speaker A

00:03:56.210 - 00:04:10.370

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

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

Speaker B

00:04:10.370 - 00:04:13.570

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

Speaker A

00:04:13.810 - 00:04:22.020

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

Speaker B

00:04:22.580 - 00:06:23.550

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

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

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

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

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

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

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

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

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

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

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

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

Speaker A

00:06:23.870 - 00:06:25.710

Sorry. My foot tastes really good right here.

Speaker B

00:06:25.950 - 00:06:32.190

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

Speaker A

00:06:32.830 - 00:06:42.190

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

Speaker B

00:06:42.720 - 00:07:06.880

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

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

Speaker A

00:07:06.880 - 00:07:07.320

Wow.

Speaker B

00:07:07.320 - 00:08:18.010

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

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

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

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

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

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

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

Speaker A

00:08:18.250 - 00:08:20.410

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

Speaker B

00:08:20.650 - 00:08:46.790

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

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

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

Speaker A

00:08:46.790 - 00:09:07.310

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

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

Speaker B

00:09:07.310 - 00:09:16.170

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

Speaker A

00:09:16.330 - 00:09:20.810

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

Speaker B

00:09:21.050 - 00:09:49.380

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

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

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

Speaker A

00:09:49.460 - 00:10:01.780

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

Speaker B

00:10:02.660 - 00:11:00.300

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

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

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

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

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

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

Speaker A

00:11:00.300 - 00:11:03.340

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

Speaker B

00:11:03.660 - 00:11:59.540

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

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

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

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