We kick things off with a surprise protest song from Caitlin, collaborating with Chris Stamey, on a track sharing the words on the Statue of Liberty. From there, the conversation opens up into a mixtape of current obsessions, weaving from the dreamy introspection of Leith Ross to the throwback swagger of T.I.

Along the way, there’s laughter, a little friendly debate about "super double deluxe" reissues (we're rolling our eyes at you, Taylor), and plenty of real talk about why music hits so deeply. So pour yourself something good, pull up a chair, and join us for a lively exchange of songs, stories, and the shared thrill of finding your next favorite song.

Catch Our Tastemaker Playlists

• Apple Music
• Tidal

Bands Featured in Episode 6

• Courtney Barnett
• Duke Ellington
• Ida
• Will Johnson
• Johnny Blue Skies/Sturgill Simpson (vinyl/CD only)
• Jon Lindsay
• Kendra Morris
• Ratboys
• Leith Ross
• T.I.

The Regulars

• Caitlin Cary
• Rachel Cholst
• Amanda Miles
• Sloane Spencer
• Kim Ware

Musicians, Photographers, and Other Cool People and Places Mentioned

• Benji Hughes
• Boy Golden
• Brian Wright
• Chris Stamey
• Jason Isbell
• Jason Molina
• Kurt Vile
• Ludacris
• Magnolia Electric Company
• New Order
• North Carolina Music Love Army
• OutKast
• Pete Seeger
• Wren Carpenter
• Taylor Swift
• The Replacements
• Tom Petty and the Heartbreakers
• Widespread Panic
• Yum Yum Tree

Recommended If You Like

dive bar music club, 90s alt rock, music podcast, emerging songwriters, cult band favorites, music playlists, protest music, singer-songwriter interviews, indie music recommendations, new music discovery, vinyl records, comfort music, live music discussions, music industry insights, alternative music culture, music nerds, music collaborations, music photography, zine culture, music trends

Ben Morrison of Brothers Comatose dives into the vibrant world of creativity and music in this laid-back chat on Country Fried Rock. The conversation kicks off with a breezy exploration of his roots in music, growing up in a household filled with jamming parents and a brother who keeps the rhythm alive with his banjo skills. They reminisce about those early days of acoustic living room concerts, where classic rock legends like Led Zeppelin and the Rolling Stones were their guiding stars, before shifting gears to discuss how they’ve evolved as a band into a unique blend of genres that keeps audiences on their toes. Ben shares the nitty-gritty of their recording process, emphasizing the importance of capturing the raw energy of live performances and the joy of collaborating with fellow artists, including a heartwarming story about discovering Nikki Bloom and the Gramblers at a festival. With some witty banter sprinkled throughout, they keep the vibe fun and relatable, making it clear that while the road to success can be rocky, it's all about enjoying the ride and creating music that resonates.

Takeaways

1. Ben Morrison of Brothers Comatose reminisces about growing up surrounded by music, thanks to his musician parents and lively music parties at home, which sparked his passion for playing.
2. The band evolved from jamming in their living room to performing live, booking gigs, and developing their unique sound through collaborative songwriting.
3. Morrison highlights the importance of live performance preparation, especially for a string band, to capture energy and engagement during shows without a drummer.
4. Festival performances present unique challenges for string bands, requiring them to impress new audiences who are often sitting in lawn chairs, making energy and effort crucial to winning over crowds.
5. Brothers Comatose embraces a variety of musical influences, blending traditional string band sounds with modern genres to create a more diverse and exciting live experience.
6. The band's recording process has shifted to a more collaborative approach, allowing members to contribute to the songwriting and arrangement of new tunes before hitting the studio.

Mentioned in this Episode

1. Brothers Comatose
2. Weezer
3. Led Zeppelin
4. The Rolling Stones
5. The Kinks
6. California Honey Drops
7. Nikki Bloom and the Gramblers
8. iTunes
9. Nucci's Space
10. Lily Pad productions
11. Full Tones
12. Steve Soto in the Twisted Hearts

Recommended If You Like

Country Fried Rock, Ben Morrison interview, Brothers Comatose, country rock music, musician creativity, acoustic arrangements, live music performance, music inspiration, songwriting process, festival performances, San Francisco music scene, string band music, music collaboration, influences in music, coffee and music, music industry insights, recording process, band dynamics, music festivals, Americana music

Mentioned in this episode:

Don't Click Those Old Links!

These podcast episodes are from 2009-2020. Links are probably dead. Half these places do not exist any more.

Kevin Gordon graces the airwaves of Country Fried Rock, diving deep into his latest album, Gloryland. He chats about how his early exposure to the sounds of legends like Jerry Lee Lewis and Ray Charles sparked his lifelong passion for roots music and Americana. Kevin shares some solid gold anecdotes from his time in Iowa, where he discovered a vibrant music scene that shaped his artistic voice and led him to Nashville. As he reflects on his evolution from punk rock to crafting poignant lyrics, it’s clear that authenticity and storytelling are at the forefront of his creative process. With a mix of nostalgia and humor, he highlights the serendipity of songwriting, revealing how life's twists and turns have influenced his work while giving a nod to the importance of collaboration in the ever-changing landscape of music.

Takeaways

1. Kevin Gordon's journey into music began as a kid dancing to classic tunes like Jerry Lee Lewis and Ray Charles at his parents' parties.
2. He found his footing in music through a punk band in high school, where he learned the value of self-expression and the joy of covers.
3. Moving to Iowa for grad school opened his eyes to the rich musical traditions of the Midwest and the Chicago blues scene.
4. In Nashville, Kevin embraced the songwriting process, blending poetry and music to create lyrics that resonate on multiple levels.
5. His latest record, Gloryland, reflects a more layered musical approach, taking time to develop each song in the studio.
6. Collaboration is key for Kevin; his partnership with Gwil Owen allowed them to write songs that truly capture their artistic vision.

Mentioned in this Episode

1. Jerry Lee Lewis
2. Ray Charles
3. X
4. Bo Ramsey
5. Chess
6. Little Ed and the Imperials
7. Sun Seals
8. Leroy Parnell
9. Marty Brown
10. Pam Tillis
11. Cadillac Jack's

Recommended If You Like

country fried rock, Kevin Gordon, Americana music, roots music, Gloryland album, songwriting inspiration, Nashville music scene, blues influences, indie music, live music performances, music production, songwriting collaboration, music creativity, poetry and music, touring as a musician, music industry insights, Lake Charles music, East Nashville artists, Midwest music scene, independent music artists

Mentioned in this episode:

Don't Click Those Old Links!

These podcast episodes are from 2009-2020. Links are probably dead. Half these places do not exist any more.

Jesse Langlais from Town Mountain joins Country Fried Rock to dive deep into the roots of his bluegrass journey and the creative spark that fuels his music. He kicks things off by sharing how a chance encounter with a bluegrass CD transformed his musical path, leading him from a casual listener to a passionate banjo player. As the conversation flows, they explore the vibrant bluegrass scene in Asheville, where Jesse honed his craft alongside fellow musicians, fostering a community where creativity thrives. The duo also chats about the delicate balance between respecting traditional bluegrass and pushing the genre into fresh, uncharted territories. Tune in for a laid-back yet insightful chat that reveals how Jesse and Town Mountain are shaking up the bluegrass world while keeping it real.

Show Notes

1. Jesse Langlais of Town Mountain joins the podcast to share his journey into bluegrass music.
2. Grew up surrounded by diverse musical influences, including Ray Charles and James Taylor, but didn’t pursue music seriously until his late teens.
3. A chance encounter with a bluegrass CD featuring Jerry Garcia sparked his passion for the genre.
4. Describes falling in love with the sound of the banjo and the journey to find the right instrument and musical identity.
5. Reflects on moving to Asheville and becoming immersed in a thriving bluegrass community.
6. Shares experiences from local jams and gatherings, including Shindig on the Green, highlighting the importance of community in bluegrass culture.
7. Emphasizes how collaboration and shared musical experiences help preserve and evolve the genre.
8. Discusses his early drive to write original music, even as a relatively new player.
9. Explores the balance between honoring traditional bluegrass roots and pushing creative boundaries.
10. Explains how Town Mountain blends authenticity with fresh sounds to reach both longtime fans and new listeners.

Mentioned in this Episode

1. Ray Charles
2. Little Feat
3. James Taylor
4. Jerry Garcia
5. Bill Monroe
6. Flatt and Scruggs
7. Stanley Brothers
8. Jimmy Martin
9. Asheville Country Music Review
10. Mike Bub
11. Del McCoury Band
12. Scott Vestal
13. Pine Castle Records
14. Putumayo
15. Allison Krauss and Union Station
16. Sam Bush
17. David Grisman

Recommended If You Like

country fried rock, bluegrass music, Jesse Longley, Town Mountain, music inspiration, Asheville music scene, bluegrass community, songwriting process, traditional bluegrass, progressive bluegrass, music creativity, banjo playing, live music performance, music collaboration, music recording process, original music, bluegrass jams, Appalachian music, Folk music, musician interviews

Mentioned in this episode:

Don't Click Those Old Links!

These podcast episodes are from 2009-2020. Links are probably dead. Half these places do not exist any more.

BJ Barham, of American Aquarium, takes a deep dive into the whirlwind of creativity behind their new album in this laid-back chat. They kick things off by highlighting a key point: the band's commitment to evolving their sound with each release, as they embrace a different producer for every record. BJ shares some personal anecdotes about how his life experiences, especially those messy relationship moments, fuel his songwriting, creating a vivid backdrop for the band's narrative-rich lyrics. He also reflects on the unique chemistry within the band now compared to earlier days, emphasizing how their camaraderie allows for a more organic and collaborative creative process. As they gear up for an intense touring schedule, BJ expresses excitement about how their fans are already singing along to new songs, proving that the road has truly shaped their music and its reception.

Show Notes

1. BJ Barham, lead singer of American Aquarium, joins the Country Fried Rock podcast for a candid and engaging conversation about his musical journey.
2. Barham reflects on his early days discovering music in high school and how those formative experiences carried into his college years.
3. Shares how young love, heartbreak, and personal struggles became the foundation for his songwriting and artistic voice.
4. Opens up about the cathartic nature of writing music and how channeling personal turmoil led to songs that deeply connect with fans.
5. Discusses the band’s impressive run of releasing multiple albums in a short period, emphasizing their strong work ethic and creative momentum.
6. Explains their approach to working with different producers for each project to create distinct sounds and avoid creative stagnation.
7. Cites legendary influences like Bruce Springsteen and Bob Dylan, highlighting the importance of storytelling in songwriting.
8. Encourages listeners to dig into the narratives within his lyrics and find personal meaning in the songs.
9. Keeps the conversation light and entertaining with humor and relaxed, conversational storytelling.
10. Shares memorable stories from touring, including the connections built with fans across the South and beyond.
11. Talks about the excitement surrounding their upcoming album and the unique experience of playing unreleased songs live.
12. Highlights how live performances allow fans to engage with new material before it’s officially released.
13. Reflects on music’s power to bring people together and create shared emotional experiences.
14. A mix of humor, honesty, and insight that showcases Barham’s passion and the band’s continued evolution while staying true to their roots.

Mentioned in this Episode

1. Chris Stamey
2. Jason Isbell
3. Lone Star Music Company
4. Turnpike Troubadours
5. Gaslight Anthem
6. Bruce Springsteen
7. Bob Dylan
8. Paul Simon
9. Craig Finn
10. Amanda Shires
11. Jimmy Nutt
12. Caitlin Cary
13. Peter Holsapple
14. Donald Glover (Childish Gambino)
15. Jay-Z
16. J. Cole
17. The Hold Steady
18. Drive-By Truckers
19. Dawes
20. Shovels & Rope
21. Turnpike Troubadours
22. Reckless Kelly
23. Jason Boland & The Stragglers
24. Lucero
25. The Lumineers
26. The Killers
27. Brooks & Dunn
28. The Fulltones
29. Steve Soto and the Twisted Hearts
30. Tin Roof
31. The Jinx
32. White Water Tavern
33. The Triple
34. The National
35. Jefferson Theater
36. FAME Studios
37. Nuthouse Recording Studio
38. Antique Hearts
39. Bones EP
40. Small Town Hymns
41. Burn.Flicker.Die.
42. Blonde on Blonde
43. Born to Run
44. Heartbreaker
45. Nebraska
46. Last Chance Records
47. Nuçi’s Space

Recommended If You Like

Country Fried Rock, American Aquarium, BJ Barham interview, songwriting inspiration, music creativity, Raleigh music scene, indie country bands, folk rock music, live music performances, recording process, producer collaborations, narrative songwriting, emotional songwriting, music festivals, touring musicians, North Carolina bands, music industry insights, mental health for musicians, Americana music, musician interviews

Mentioned in this episode:

Don't Click Those Old Links!

These podcast episodes are from 2009-2020. Links are probably dead. Half these places do not exist any more.

Grab a stool at the Dive Bar Music Club, where host Sloane Spencer and Regulars Charles Hale and Nelson Gullett share their low-key, high-taste music selections. This week’s happy hour for music nerds dives deep into the miracle of the Michael Shannon and Jason Narducy's Life's Rich Pageant R.E.M. tour, where even Bobcat Goldthwait's opening set brought joy, much to their surprise. Between Charles’s treasure trove of new vinyl finds, ranging from the haunting Magnolia and Johnson Electric Co. 7" to the garage-rock grit of the Flamin' Groovies, and Nelson’s essential preview of the Big Ears Festival featuring lap-style guitar creative Yasmin Williams, the episode is a masterclass in crate-digging. It’s a passionate, defense of the weird, the instrumental, and the feel-good oldies that make being a music obsessive worth the effort.

Catch Our Tastemaker Playlists

1. Apple Music
2. Tidal

Bands Featured in Episode 5

1. Angine de Poitrine
2. Beulah
3. The Cure
4. Cure for Paranoia
5. Flamin' Groovies
6. Gwenifer Raymond
7. Haley Heynderickx and Max Garcia Conover
8. Magnolia & Johnson Electric Co.
9. Yasmin Williams ft Dom Flemons

Venues and Festivals Mentioned

1. The 40 Watt Club, Athens, GA
2. Big Ears Festival, Knoxville, TN
3. Bijou Theatre, Knoxville, TN
4. Bonnaroo, Manchester, TN
5. Cat’s Cradle, Carrboro, NC
6. Tennessee Theatre, Knoxville, TN

The Regulars

1. Nelson Gullett
2. Charles Hale
3. Sloane Spencer

Musicians, Photographers, and Other Cool People and Places Mentioned

1. Adam Smith
2. Alvin Youngblood Hart
3. American Aquarium
4. Amethyst Kiah
5. Apples in Stereo
6. Arooj Aftab
7. Backsliders
8. Ben Nichols
9. Beulah
10. Billy Allen and the Pollies
11. Blind Boys of Alabama
12. The Carolina Chocolate Drops
13. Charles Wesley Godwin
14. Chocolate Genius
15. Chris Porter
16. Chris Thile
17. Darrell Scott
18. The Devil Makes Three
19. The Glands
20. MJ Lenderman
21. Jason Molina
22. Jason Narducy
23. Jay Farrar
24. Jim Dickinson
25. Jim James
26. John Zorn
27. Johnny Blue Skies (Sturgill Simpson)
28. Ken Pomeroy
29. Luther Dickinson
30. Madison Cunningham
31. Magnolia Electric Co.
32. Marc Ribot
33. Michael Shannon
34. Molina and Johnson
35. Nels Cline
36. Neutral Milk Hotel
37. New Multitudes
38. Nirvana
39. Patti Smith
40. R.E.M.
41. Reggie Watts
42. Sam Amidon
43. Scott Avett
44. Sturgill Simpson
45. Sun Ra Arkestra
46. Sunny War
47. Tatiana Hargreaves
48. The 400...]]>Summary

    Grab a stool at the Dive Bar Music Club, where host Sloane Spencer and Regulars Charles Hale and Nelson Gullett share their low-key, high-taste music selections. This week’s happy hour for music nerds dives deep into the miracle of the Michael Shannon and Jason Narducy's Life's Rich Pageant R.E.M. tour, where even Bobcat Goldthwait's opening set brought joy, much to their surprise. Between Charles’s treasure trove of new vinyl finds, ranging from the haunting Magnolia and Johnson Electric Co. 7" to the garage-rock grit of the Flamin' Groovies, and Nelson’s essential preview of the Big Ears Festival featuring lap-style guitar creative Yasmin Williams, the episode is a masterclass in crate-digging. It’s a passionate, defense of the weird, the instrumental, and the feel-good oldies that make being a music obsessive worth the effort.

    Catch Our Tastemaker Playlists

    1. Apple Music
    2. Tidal
    
    

    Bands Featured in Episode 5

    1. Angine de Poitrine
    2. Beulah
    3. The Cure
    4. Cure for Paranoia
    5. Flamin' Groovies
    6. Gwenifer Raymond
    7. Haley Heynderickx and Max Garcia Conover
    8. Magnolia & Johnson Electric Co.
    9. Yasmin Williams ft Dom Flemons
    
    

    Venues and Festivals Mentioned

    1. The 40 Watt Club, Athens, GA
    2. Big Ears Festival, Knoxville, TN
    3. Bijou Theatre, Knoxville, TN
    4. Bonnaroo, Manchester, TN
    5. Cat’s Cradle, Carrboro, NC
    6. Tennessee Theatre, Knoxville, TN
    
    

    The Regulars

    1. Nelson Gullett
    2. Charles Hale
    3. Sloane Spencer
    
    

    Musicians, Photographers, and Other Cool People and Places Mentioned

    1. Adam Smith
    2. Alvin Youngblood Hart
    3. American Aquarium
    4. Amethyst Kiah
    5. Apples in Stereo
    6. Arooj Aftab
    7. Backsliders
    8. Ben Nichols
    9. Beulah
    10. Billy Allen and the Pollies
    11. Blind Boys of Alabama
    12. The Carolina Chocolate Drops
    13. Charles Wesley Godwin
    14. Chocolate Genius
    15. Chris Porter
    16. Chris Thile
    17. Darrell Scott
    18. The Devil Makes Three
    19. The Glands
    20. MJ Lenderman
    21. Jason Molina
    22. Jason Narducy
    23. Jay Farrar
    24. Jim Dickinson
    25. Jim James
    26. John Zorn
    27. Johnny Blue Skies (Sturgill Simpson)
    28. Ken Pomeroy
    29. Luther Dickinson
    30. Madison Cunningham
    31. Magnolia Electric Co.
    32. Marc Ribot
    33. Michael Shannon
    34. Molina and Johnson
    35. Nels Cline
    36. Neutral Milk Hotel
    37. New Multitudes
    38. Nirvana
    39. Patti Smith
    40. R.E.M.
    41. Reggie Watts
    42. Sam Amidon
    43. Scott Avett
    44. Sturgill Simpson
    45. Sun Ra Arkestra
    46. Sunny War
    47. Tatiana Hargreaves
    48. The 400 Unit
    49. Thurston Moore
    50. Waxahatchee
    51. The Westerlies
    52. Will Johnson
    53. William Tyler
    54. Wu Fei
    
    

    Recommended If You Like

    Dive Bar Music Club, music podcast, 90s alt rock, indie music recommendations, emerging songwriters, record store culture, festival music experiences, Sturgill Simpson new album, live music events, alternative music playlists, music nerd discussions, unique musical collaborations, Big Ears Festival, folk and Americana music, underground music scene, vinyl record collecting, local music highlights, new music discoveries, eclectic music tastes, passionate music discussions, R.E.M., Jason Narducy, Michael Shannon, Johnny Blue Skies

    ]]>b5d28eeb-b265-41fb-80cb-0222a1a91ceeFri, 20 Mar 2026 03:33:00 -040051:01truebonusWe Love a Good Cemetery, Mispronouncing Swedish Names, and Biker Bars in a Good Way - Dive Bar Music ClubSummary

    This week, Amanda Miles, Sloane Spencer, and Kim Ware settle in for a deeper conversation about the music getting us through the mess of current American politics. We start by talking about the long history of music and creativity in protest movements, sparked by Ann Powers’ article about where all the protest songs have gone lately, and whether they’ve actually disappeared or just taken new forms.

    From there, we trade the songs currently living on repeat in our headphones. A theme quickly emerges: comfort. The kind of music that steadies you when everything feels beyond us. Think the emotional pull of Jason Isbell, the warm, lived-in sound of Waxahatchee, and the storytelling power that artists like Tyler Childers and Courtney Marie Andrews bring to the table.

    Along the way we talk about that tricky balance in our listening habits right now, when you want music that lets you feel the anger, but also something that softens the edges of the day.

    Pour yourself something good, settle in, and join us for a thoughtful, easy-going conversation full of sharp observations, a few laughs, and plenty of appreciation for the songs helping us cope, reset, and stay connected.

    Catch Our Tastemaker Playlists

    1. Apple Music
    2. Tidal
    
    

    Bands Featured in Episode 4

    1. Courtney Marie Andrews
    2. Amanda Bergman
    3. Tyler Childers
    4. Jason Isbell
    5. Dina Ogon
    6. Waxahatchee
    
    

    Venues and Festivals Mentioned

    1. Fest, Gainesville, FL
    2. Shoals Fest, Muscle Shoals, AL
    3. The Cave, Chapel Hill, NC
    4. Coca Cola Amphitheater, Birmingham, AL
    5. Neighborhood Theatre, Charlotte, NC
    6. Orange Peel, Asheville, NC
    7. Radio Room, Greenville, SC
    8. Red Rocks, Morrison, CO
    9. Tribbles, Piedmont, SC
    
    

    The Regulars

    1. Amanda Miles
    2. Sloane Spencer
    3. Kim Ware
    
    

    Musicians & More Also Mentioned in this Episode

    1. The Ann Powers article about protest music
    2. Healing Appalachia
    3. Amanda Shires
    4. Angel Olsen
    5. David Childers
    6. Dillon Fence
    7. Drive-By Truckers
    8. JPhono1
    9. Michael Cera Palin
    10. MJ Lenderman
    11. Martha Davis (The Motels)
    12. My Chemical Romance
    13. Rage Against the Machine
    14. Rickie Lee Jones
    15. StereoLab
    16. Tedeschi Trucks Band
    17. Tift Merritt
    
    

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

    , dive bar music club, 90s alt rock, emerging songwriters, indie americana music, protest music today, creativity in music, comfort music, vinyl records, music recommendations, Jason Isbell, Waxahachee, Tyler Childers, music playlists, live music experiences, female musicians, songwriting process, music festivals, music and mental health, southern roots music, music industry insights
    ]]>Summary

    This week, Amanda Miles, Sloane Spencer, and Kim Ware settle in for a deeper conversation about the music getting us through the mess of current American politics. We start by talking about the long history of music and creativity in protest movements, sparked by Ann Powers’ article about where all the protest songs have gone lately, and whether they’ve actually disappeared or just taken new forms.

    From there, we trade the songs currently living on repeat in our headphones. A theme quickly emerges: comfort. The kind of music that steadies you when everything feels beyond us. Think the emotional pull of Jason Isbell, the warm, lived-in sound of Waxahatchee, and the storytelling power that artists like Tyler Childers and Courtney Marie Andrews bring to the table.

    Along the way we talk about that tricky balance in our listening habits right now, when you want music that lets you feel the anger, but also something that softens the edges of the day.

    Pour yourself something good, settle in, and join us for a thoughtful, easy-going conversation full of sharp observations, a few laughs, and plenty of appreciation for the songs helping us cope, reset, and stay connected.

    Catch Our Tastemaker Playlists

    1. Apple Music
    2. Tidal
    
    

    Bands Featured in Episode 4

    1. Courtney Marie Andrews
    2. Amanda Bergman
    3. Tyler Childers
    4. Jason Isbell
    5. Dina Ogon
    6. Waxahatchee
    
    

    Venues and Festivals Mentioned

    1. Fest, Gainesville, FL
    2. Shoals Fest, Muscle Shoals, AL
    3. The Cave, Chapel Hill, NC
    4. Coca Cola Amphitheater, Birmingham, AL
    5. Neighborhood Theatre, Charlotte, NC
    6. Orange Peel, Asheville, NC
    7. Radio Room, Greenville, SC
    8. Red Rocks, Morrison, CO
    9. Tribbles, Piedmont, SC
    
    

    The Regulars

    1. Amanda Miles
    2. Sloane Spencer
    3. Kim Ware
    
    

    Musicians & More Also Mentioned in this Episode

    1. The Ann Powers article about protest music
    2. Healing Appalachia
    3. Amanda Shires
    4. Angel Olsen
    5. David Childers
    6. Dillon Fence
    7. Drive-By Truckers
    8. JPhono1
    9. Michael Cera Palin
    10. MJ Lenderman
    11. Martha Davis (The Motels)
    12. My Chemical Romance
    13. Rage Against the Machine
    14. Rickie Lee Jones
    15. StereoLab
    16. Tedeschi Trucks Band
    17. Tift Merritt
    
    

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

    , dive bar music club, 90s alt rock, emerging songwriters, indie americana music, protest music today, creativity in music, comfort music, vinyl records, music recommendations, Jason Isbell, Waxahachee, Tyler Childers, music playlists, live music experiences, female musicians, songwriting process, music festivals, music and mental health, southern roots music, music industry insights
    ]]>0034c625-daa0-43af-a2c5-2385c2dc82afThu, 05 Mar 2026 03:33:00 -040048:57truebonusMisty Mountain Hop - Momma Runs an UltraSummary

    Momma's in her first official ultramarathon training block, and things are getting real. Back-to-back long runs? Check. Experimenting with mashed potatoes in a Ziploc mid-run? Also check. (Sweet gels, sometimes we need a break.) As she navigates fueling flails, lopsided pistol squats, and the humbling realization that some “lost skills” were never there to begin with, the ultra journey is serving up equal parts grit and comedy.

    But the real plot twist? A full-on obsession with the Black Canyon Ultras livestream. Eight hours of desert running, elite women crushing it, and shockingly good coverage, better than the Chicago and Tokyo Marathons. Trail running entered the chat with drones, commentary, and vibes.

    From desert cacti to her new word "vert," Momma's falling hard for the ultra world, while also spiraling (just a little) into Olympic ski mountaineering fandom. Foot care books are on the way, shoe decisions loom large, and the quest for “vert” while living in a place with 11 feet elevation change is officially underway.

    It’s midlife, miles, and mashed potatoes, and she’s saying all the quiet parts out loud.

    Chapters

    1. 00:12 - Beginning the Ultra Journey
    2. 01:03 - Transitioning into Ultramarathon Training
    3. 03:52 - The Transition to Trail Running
    4. 04:39 - Experiencing the Excitement of Trail Running
    5. 06:39 - Introduction to Skimo and Ultra Running
    6. 07:29 - Preparing for the Ultramarathon
    
    

    How I Procrastinate

    1. Sleep with Rock Stars, the Gen X Sleep Podcast
    2. Country Fried Rock, Podcast Archives from 2009-2020
    3. Music Playlists
    4. Support This Podcast
    5. Dive Bar Music Club, the Low Key, High Taste Happy Hour for Music Nerds
    
    

    Recommended If You Like

    ultramarathon training, trail running tips, ultra marathon nutrition, back to back long runs, desert running events, running coverage comparison, fueling for ultra marathons, ultramarathon for beginners, ultramarathon coaching advice, running and nutrition, marathon coverage issues, trail running for newbies, ultra marathon gear, how to run an ultra, best foods for running, ultra marathon training plan, ultramarathon experiences, running techniques for older runners, ultra marathon community, ultrarunning podcasts, Leah Yingling, Mountain Outpost, Hilary Yang, Hillary Yang, Molly Seidel, Des Linden

    Mentioned in this episode:

    Dive Bar Music Club, the Low Key, High Taste Music Podcast

    A rotating cast of The Regulars gather to chat about the music they're currently listening to.

    ]]>Summary

    Momma's in her first official ultramarathon training block, and things are getting real. Back-to-back long runs? Check. Experimenting with mashed potatoes in a Ziploc mid-run? Also check. (Sweet gels, sometimes we need a break.) As she navigates fueling flails, lopsided pistol squats, and the humbling realization that some “lost skills” were never there to begin with, the ultra journey is serving up equal parts grit and comedy.

    But the real plot twist? A full-on obsession with the Black Canyon Ultras livestream. Eight hours of desert running, elite women crushing it, and shockingly good coverage, better than the Chicago and Tokyo Marathons. Trail running entered the chat with drones, commentary, and vibes.

    From desert cacti to her new word "vert," Momma's falling hard for the ultra world, while also spiraling (just a little) into Olympic ski mountaineering fandom. Foot care books are on the way, shoe decisions loom large, and the quest for “vert” while living in a place with 11 feet elevation change is officially underway.

    It’s midlife, miles, and mashed potatoes, and she’s saying all the quiet parts out loud.

    Chapters

    1. 00:12 - Beginning the Ultra Journey
    2. 01:03 - Transitioning into Ultramarathon Training
    3. 03:52 - The Transition to Trail Running
    4. 04:39 - Experiencing the Excitement of Trail Running
    5. 06:39 - Introduction to Skimo and Ultra Running
    6. 07:29 - Preparing for the Ultramarathon
    
    

    How I Procrastinate

    1. Sleep with Rock Stars, the Gen X Sleep Podcast
    2. Country Fried Rock, Podcast Archives from 2009-2020
    3. Music Playlists
    4. Support This Podcast
    5. Dive Bar Music Club, the Low Key, High Taste Happy Hour for Music Nerds
    
    

    Recommended If You Like

    ultramarathon training, trail running tips, ultra marathon nutrition, back to back long runs, desert running events, running coverage comparison, fueling for ultra marathons, ultramarathon for beginners, ultramarathon coaching advice, running and nutrition, marathon coverage issues, trail running for newbies, ultra marathon gear, how to run an ultra, best foods for running, ultra marathon training plan, ultramarathon experiences, running techniques for older runners, ultra marathon community, ultrarunning podcasts, Leah Yingling, Mountain Outpost, Hilary Yang, Hillary Yang, Molly Seidel, Des Linden

    Mentioned in this episode:

    Dive Bar Music Club, the Low Key, High Taste Music Podcast

    A rotating cast of The Regulars gather to chat about the music they're currently listening to.

    ]]>c6011987-bc3a-43fd-b097-383e48e23cb7Fri, 20 Feb 2026 03:33:00 -040009:29truebonusA Good Day for The Clash, The Ann Powers Litmus Test, and Just Like Our Drinks, We'll Take Our Country Neat - Dive Bar Music ClubSummary

    It seems like it's a good time to play The Clash. Dive Bar Music Club is back and digging a little deeper this time. We’re diving into the crossroads of music and social awareness, sparked by the recent federal violence in Minneapolis. I’m Sloane Spencer, joined by Chad Cochran, the Nelson Gullett, and Charles Hale.

    A couple of us are slightly under the weather this week, but we're psyched to chat about what we're listening to lately.

    We’re still swapping our latest musical obsessions and what’s been living on our playlists, but today the conversation carries a little more weight. We’re talking about how music shows up when things get tense; how it pushes back, how it brings people together, and how artists turn frustration, grief, and defiance into something powerful and unifying. At the same time, we’re not forgetting what music also does best: giving us a breather, a release, a place to land when the world feels loud.

    So settle in with us for thoughtful, unfiltered, interesting music conversation.

    Catch Our Tastemaker Playlists

    1. Apple Music
    2. Tidal
    
    

    Bands Featured in Episode 3

    1. Iron Chic
    2. Amelia Day
    3. The Menzingers
    4. Mon Rovîa
    5. Off With Their Heads
    6. Karen E. Reynolds
    7. The Third Mind
    8. W8ing4UFOs
    
    

    Venues and Festivals Mentioned

    1. Albino Skunk Music Festival, Greer, SC
    2. Barley's, Knoxville, TN
    3. Big Ears Festival, Knoxville, TN
    4. Blue Plate Special, WDVX, Knoxville, TN
    5. The Blue Room, Nashville, TN
    6. Bubbapalooza, Atlanta, GA
    7. First Avenue, Minneapolis, MN
    8. Frank Brown Songwriting Festival
    9. Lake Street, Minneapolis, MN
    10. Little 5 Points Festival, Atlanta, GA
    11. Nelsonville Music Festival, Nelsonville, OH
    12. Star Bar, Atlanta, GA
    
    

    The Regulars in Episode 3

    1. Chad Cochran
    2. Nelson Gullett
    3. Charles Hale
    4. Sloane Spencer
    
    

    Musicians Also Mentioned

    1. 13th Floor Elevators
    2. Dave Alvin
    3. Bad Bunny
    4. Better Than Ezra
    5. Carsie Blanton
    6. The Blasters
    7. BoyGenius
    8. Billy Bragg
    9. Peter Buck
    10. Camper Van Beethoven
    11. Ashley Capps
    12. The Carter Family
    13. Counting Crows
    14. Chunklet (Henry Owings)
    15. The Clash
    16. Alice Coltrane
    17. Cracker
    18. JT Cure
    19. Summary

        It seems like it's a good time to play The Clash. Dive Bar Music Club is back and digging a little deeper this time. We’re diving into the crossroads of music and social awareness, sparked by the recent federal violence in Minneapolis. I’m Sloane Spencer, joined by Chad Cochran, the Nelson Gullett, and Charles Hale.

        A couple of us are slightly under the weather this week, but we're psyched to chat about what we're listening to lately.

        We’re still swapping our latest musical obsessions and what’s been living on our playlists, but today the conversation carries a little more weight. We’re talking about how music shows up when things get tense; how it pushes back, how it brings people together, and how artists turn frustration, grief, and defiance into something powerful and unifying. At the same time, we’re not forgetting what music also does best: giving us a breather, a release, a place to land when the world feels loud.

        So settle in with us for thoughtful, unfiltered, interesting music conversation.

        Catch Our Tastemaker Playlists

        1. Apple Music
        2. Tidal
        
        

        Bands Featured in Episode 3

        1. Iron Chic
        2. Amelia Day
        3. The Menzingers
        4. Mon Rovîa
        5. Off With Their Heads
        6. Karen E. Reynolds
        7. The Third Mind
        8. W8ing4UFOs
        
        

        Venues and Festivals Mentioned

        1. Albino Skunk Music Festival, Greer, SC
        2. Barley's, Knoxville, TN
        3. Big Ears Festival, Knoxville, TN
        4. Blue Plate Special, WDVX, Knoxville, TN
        5. The Blue Room, Nashville, TN
        6. Bubbapalooza, Atlanta, GA
        7. First Avenue, Minneapolis, MN
        8. Frank Brown Songwriting Festival
        9. Lake Street, Minneapolis, MN
        10. Little 5 Points Festival, Atlanta, GA
        11. Nelsonville Music Festival, Nelsonville, OH
        12. Star Bar, Atlanta, GA
        
        

        The Regulars in Episode 3

        1. Chad Cochran
        2. Nelson Gullett
        3. Charles Hale
        4. Sloane Spencer
        
        

        Musicians Also Mentioned

        1. 13th Floor Elevators
        2. Dave Alvin
        3. Bad Bunny
        4. Better Than Ezra
        5. Carsie Blanton
        6. The Blasters
        7. BoyGenius
        8. Billy Bragg
        9. Peter Buck
        10. Camper Van Beethoven
        11. Ashley Capps
        12. The Carter Family
        13. Counting Crows
        14. Chunklet (Henry Owings)
        15. The Clash
        16. Alice Coltrane
        17. Cracker
        18. JT Cure
        19. Arrested Development
        20. Lucy Dacus
        21. Deacon Lunchbox
        22. Drive-By Truckers
        23. Bob Dylan
        24. Grateful Dead
        25. Billie Eilish
        26. Billy Fields
        27. Follow for Now
        28. Will Fratesi
        29. Marvin Gaye
        30. The Jody Grind
        31. Kelly Hogan
        32. Japanese Breakfast
        33. Jimmy Eat World
        34. The Jompson Brothers
        35. The Knitters
        36. Victor Krummenacher
        37. Lake Street Dive
        38. MJ Lenderman
        39. Barrett Martin
        40. James McMurtry
        41. The Minus 5
        42. Nirvana
        43. Joy Oladokun
        44. J.S. Ondara
        45. Robert Plant
        46. Chuck Prophet
        47. Pylon (Randy Bewley, Vanessa Briscoe Hay)
        48. Pylon Reenactment Society
        49. Rage Against the Machine
        50. Redd and the Paper Flowers
        51. The Replacements
        52. Chappell Roan
        53. Pharoah Sanders
        54. Gregory Dean Smalley
        55. Smoke
        56. Bruce Springsteen
        57. Mavis Staples
        58. Chris Stapleton
        59. The Steeldrivers
        60. Taylor Swift
        61. Jesse Sykes
        62. Bill Taft (Chowder Shouters)
        63. Chris Thile
        64. Richard Thompson
        65. The Toadies
        66. Tuatara
        67. Molly Tuttle
        68. Waxahatchee
        69. Weezer
        70. Jesse Wells (the spectacular fiddler who plays with Tyler Childers)
        71. Olivia Wolfe
        da4552ba-87e2-402d-b2ff-1bf38cc1d1bbFri, 20 Feb 2026 03:33:00 -040059:37truebonusCountry Fried Rock 1216: The Mother Truckers' Teal Collins and Josh Zee on Alien Girls and Van ToursSummary

        Teal Collins and Josh Zee, the powerhouse duo behind The Mother Truckers, are here to take us on a ride through their musical journey that's as untamed as a wild rodeo. They open up about how their family backgrounds sparked their creative fire. Teal’s dad, a jazz DJ, handed her a Les Paul electric guitar, while Josh's father, a folk singer, laid the foundation for his evolution into hard rock. They talk about their shift from California to the buzzing music scene in Austin and how it influenced the sound of their band. Now, with their latest album, Van Tour, they’ve embraced the DIY approach, self-producing the record with a level of freedom that’s made the whole process feel like an adventure. Between the humor and heartfelt stories, they reflect on the highs and lows of touring, the close-knit community with fellow musicians, and the genuine connection they feel with their fans. This episode is a celebration of the grind, the groove, and the joy of making music on their own terms.

        Show Notes

        1. Musicians Teal Collins and Josh Zee of The Mother Truckers join Sloane on Country Fried Rock to share their musical journeys and creative inspirations.
        2. Teal discusses her early musical influences, particularly her father, a jazz DJ, who gifted her a Les Paul electric guitar, an instrument she still uses on stage today.
        3. Josh talks about his upbringing, focusing on how his father shaped his love for music in the 80s, especially during the era of iconic guitar solos in rock.
        4. They reminisce about their early band experiences and the challenges of breaking into the music scene, blending humor with reflections on their artistic growth.
        5. The conversation shifts to their move to Austin, Texas, where they found a supportive and thriving music community that played a significant role in their success.
        6. The duo discusses their latest album, Van Tour, emphasizing the freedom of creating music without the constraints of traditional record labels.
        7. They provide a sneak peek into their upcoming U.S. and European tours, building anticipation for what’s next on the horizon.
        
        

        Chapters

        1. 00:00 - Introduction to Country Fried Rock
        2. 02:21 - The Origins of the Mother Truckers
        3. 06:46 - Run for Freedom: The Journey of Independence
        4. 08:45 - Exploring Musical Influences and Inspirations
        5. 11:51 - The Collaborative Process of Songwriting
        6. 16:01 - Reflections on Touring and Connection
        
        

        Takeaways

        1. Teal and Josh talk about how their roots shaped the sound and style of The Mother Truckers.
        2. The band shares how important collaboration is in their songwriting, letting creativity flow without too many rules.
        3. Moving to Austin was a game-changer for them, opening up more opportunities and introducing them to a supportive music scene.
        4. Their new album Van Tour marks a moment of freedom from the industry's pressures, making music fun again.
        5. They reflect on the joy of connecting with fans on tour, building a sense of community through their music.
        6. Their easy-going conversations about past influences add a personal touch to their story, showing how music is both a passion and a journey for them.
        
        

        Mentioned in this Episode

        1. The Mother Truckers
        2. Little Steven's Underground Garage
        3. Sirius
        4. Stonehoney
        5. Elmore James
        6. Muddy Waters
        7. Johnny Cash
        8. Willie Nelson
        9. George Jones
        10. Hank Williams
        11. Merle Haggard
        12. AC/DC
        13. The Rolling Stones
        14. The Beatles
        15. Kenny Loggins
        16. Olivia Newton-John
        17. REO Speedwagon
        18. Les Paul
        
        

        Recommended If You Like

        Country Fried Rock, Mother Truckers, Teal Collins, Josh Zee, Austin music scene, songwriting process, creative inspiration, guitar stories, van tour, independent music, music collaboration, live performances, roots music, album releases, touring Europe, Little Steven's Underground Garage, music influences, band interviews, Americana music, creative journey, musicians' stories

        Transcript

        Speaker A

        00:00:00.800 - 00:00:09.040

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

        Speaker B

        00:00:09.120 - 00:00:11.840

        Hey, Teal. This is Sloan from Country Fried Rock.

        Speaker C

        00:00:12.000 - 00:00:13.440

        Hi, Sloan. How are you?

        Speaker B

        00:00:13.600 - 00:00:15.200

        I am doing well. How are you?

        Speaker C

        00:00:15.440 - 00:00:16.640

        I'm great, thanks.

        Speaker B

        00:00:16.720 - 00:00:19.760

        Thanks so much for both of y' all being with us here on Country Fried Rock.

        Speaker C

        00:00:19.840 - 00:00:20.960

        Thanks for having us.

        Speaker B

        00:00:21.120 - 00:00:30.920

        We've got Teal Collins and Josh Z. Chatting with us today. The Mother Truckers of Austin, Texas. Got major things happening these days. Yes, Teal, you are one bad mama jama.

        Speaker C

        00:00:31.800 - 00:00:34.360

        Thank you. Thank you so much.

        Speaker B

        00:00:35.000 - 00:00:38.120

        How on earth did you end up where you are now, musically?

        Speaker C

        00:00:38.600 - 00:00:56.680

        I actually took up guitar when I was about 16. I first took up ukulele. My dad taught me the ukulele. And then I took up guitar when I was about 16.

        My dad, who was a jazz disc jockey, was friends with Les Paul. Les Paul gave me my first electric guitar that I still play on stage every night with the Mother Truckers.

        Speaker B

        00:00:57.140 - 00:00:58.340

        That's awesome.

        Speaker C

        00:00:58.740 - 00:01:23.590

        One of my first bands, tradition, it was called, they had me sing a song, and I was kind of scared because I hadn't really. I always sang in my bedroom but never really sang out.

        And I realized at that moment it was sure a lot easier than all these strings and frets and fingers. So I put down the guitar and started singing full time, you know, and then picked up the guitar again years later with this band. Been just great.

        Speaker B

        00:01:24.230 - 00:01:26.870

        That is a great story. So what about you, Josh?

        Speaker D

        00:01:27.190 - 00:01:53.230

        Well, my dad also was a musician. He could kind of play everything. He's a folk singer. He's taught me guitar. You know, I like hard rock stuff. I grew up in the 80s.

        Guitar was everything. Even Olivia Newton John had a single out, but she had to have some blazing guitar solo or Kenny Logging. Everyone had to have a shredding guitar solo.

        That was the time. So that's what I wanted to do and still am working on it to this day.

        Speaker B

        00:01:53.230 - 00:01:58.690

        I guarantee this is the time anyone's ever referenced Olivia Newton John or Kenny Loggins on this show.

        Speaker D

        00:01:59.890 - 00:02:08.050

        Yeah, well, I did it to illustrate a point]]>Summary

        Teal Collins and Josh Zee, the powerhouse duo behind The Mother Truckers, are here to take us on a ride through their musical journey that's as untamed as a wild rodeo. They open up about how their family backgrounds sparked their creative fire. Teal’s dad, a jazz DJ, handed her a Les Paul electric guitar, while Josh's father, a folk singer, laid the foundation for his evolution into hard rock. They talk about their shift from California to the buzzing music scene in Austin and how it influenced the sound of their band. Now, with their latest album, Van Tour, they’ve embraced the DIY approach, self-producing the record with a level of freedom that’s made the whole process feel like an adventure. Between the humor and heartfelt stories, they reflect on the highs and lows of touring, the close-knit community with fellow musicians, and the genuine connection they feel with their fans. This episode is a celebration of the grind, the groove, and the joy of making music on their own terms.

        Show Notes

        1. Musicians Teal Collins and Josh Zee of The Mother Truckers join Sloane on Country Fried Rock to share their musical journeys and creative inspirations.
        2. Teal discusses her early musical influences, particularly her father, a jazz DJ, who gifted her a Les Paul electric guitar, an instrument she still uses on stage today.
        3. Josh talks about his upbringing, focusing on how his father shaped his love for music in the 80s, especially during the era of iconic guitar solos in rock.
        4. They reminisce about their early band experiences and the challenges of breaking into the music scene, blending humor with reflections on their artistic growth.
        5. The conversation shifts to their move to Austin, Texas, where they found a supportive and thriving music community that played a significant role in their success.
        6. The duo discusses their latest album, Van Tour, emphasizing the freedom of creating music without the constraints of traditional record labels.
        7. They provide a sneak peek into their upcoming U.S. and European tours, building anticipation for what’s next on the horizon.
        
        

        Chapters

        1. 00:00 - Introduction to Country Fried Rock
        2. 02:21 - The Origins of the Mother Truckers
        3. 06:46 - Run for Freedom: The Journey of Independence
        4. 08:45 - Exploring Musical Influences and Inspirations
        5. 11:51 - The Collaborative Process of Songwriting
        6. 16:01 - Reflections on Touring and Connection
        
        

        Takeaways

        1. Teal and Josh talk about how their roots shaped the sound and style of The Mother Truckers.
        2. The band shares how important collaboration is in their songwriting, letting creativity flow without too many rules.
        3. Moving to Austin was a game-changer for them, opening up more opportunities and introducing them to a supportive music scene.
        4. Their new album Van Tour marks a moment of freedom from the industry's pressures, making music fun again.
        5. They reflect on the joy of connecting with fans on tour, building a sense of community through their music.
        6. Their easy-going conversations about past influences add a personal touch to their story, showing how music is both a passion and a journey for them.
        
        

        Mentioned in this Episode

        1. The Mother Truckers
        2. Little Steven's Underground Garage
        3. Sirius
        4. Stonehoney
        5. Elmore James
        6. Muddy Waters
        7. Johnny Cash
        8. Willie Nelson
        9. George Jones
        10. Hank Williams
        11. Merle Haggard
        12. AC/DC
        13. The Rolling Stones
        14. The Beatles
        15. Kenny Loggins
        16. Olivia Newton-John
        17. REO Speedwagon
        18. Les Paul
        
        

        Recommended If You Like

        Country Fried Rock, Mother Truckers, Teal Collins, Josh Zee, Austin music scene, songwriting process, creative inspiration, guitar stories, van tour, independent music, music collaboration, live performances, roots music, album releases, touring Europe, Little Steven's Underground Garage, music influences, band interviews, Americana music, creative journey, musicians' stories

        Transcript

        Speaker A

        00:00:00.800 - 00:00:09.040

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

        Speaker B

        00:00:09.120 - 00:00:11.840

        Hey, Teal. This is Sloan from Country Fried Rock.

        Speaker C

        00:00:12.000 - 00:00:13.440

        Hi, Sloan. How are you?

        Speaker B

        00:00:13.600 - 00:00:15.200

        I am doing well. How are you?

        Speaker C

        00:00:15.440 - 00:00:16.640

        I'm great, thanks.

        Speaker B

        00:00:16.720 - 00:00:19.760

        Thanks so much for both of y' all being with us here on Country Fried Rock.

        Speaker C

        00:00:19.840 - 00:00:20.960

        Thanks for having us.

        Speaker B

        00:00:21.120 - 00:00:30.920

        We've got Teal Collins and Josh Z. Chatting with us today. The Mother Truckers of Austin, Texas. Got major things happening these days. Yes, Teal, you are one bad mama jama.

        Speaker C

        00:00:31.800 - 00:00:34.360

        Thank you. Thank you so much.

        Speaker B

        00:00:35.000 - 00:00:38.120

        How on earth did you end up where you are now, musically?

        Speaker C

        00:00:38.600 - 00:00:56.680

        I actually took up guitar when I was about 16. I first took up ukulele. My dad taught me the ukulele. And then I took up guitar when I was about 16.

        My dad, who was a jazz disc jockey, was friends with Les Paul. Les Paul gave me my first electric guitar that I still play on stage every night with the Mother Truckers.

        Speaker B

        00:00:57.140 - 00:00:58.340

        That's awesome.

        Speaker C

        00:00:58.740 - 00:01:23.590

        One of my first bands, tradition, it was called, they had me sing a song, and I was kind of scared because I hadn't really. I always sang in my bedroom but never really sang out.

        And I realized at that moment it was sure a lot easier than all these strings and frets and fingers. So I put down the guitar and started singing full time, you know, and then picked up the guitar again years later with this band. Been just great.

        Speaker B

        00:01:24.230 - 00:01:26.870

        That is a great story. So what about you, Josh?

        Speaker D

        00:01:27.190 - 00:01:53.230

        Well, my dad also was a musician. He could kind of play everything. He's a folk singer. He's taught me guitar. You know, I like hard rock stuff. I grew up in the 80s.

        Guitar was everything. Even Olivia Newton John had a single out, but she had to have some blazing guitar solo or Kenny Logging. Everyone had to have a shredding guitar solo.

        That was the time. So that's what I wanted to do and still am working on it to this day.

        Speaker B

        00:01:53.230 - 00:01:58.690

        I guarantee this is the time anyone's ever referenced Olivia Newton John or Kenny Loggins on this show.

        Speaker D

        00:01:59.890 - 00:02:08.050

        Yeah, well, I did it to illustrate a point of how prevalent and ubiquitous the shredding guitar solo was as a child. For me, sure.

        Speaker C

        00:02:08.050 - 00:02:11.290

        Aria speedwagon, too. They had a shredder in the middle. Yeah.

        Speaker D

        00:02:11.290 - 00:02:18.290

        Gary Rich Rath. He was pretty good. Yeah, There you go, Ari. SV Rock and Newton John and Kenny Loggins.

        Speaker B

        00:02:18.290 - 00:02:21.730

        There you go. What led to the development of this.

        Speaker A

        00:02:21.730 - 00:02:23.010

        Band with the Mother Truckers?

        Speaker D

        00:02:23.580 - 00:03:15.290

        I was in a sort of hard rock, alternative, so to speak, band in the late 90s because the band was called Pro Team, and we had a couple of major label records out, and the whole thing kind of fell apart the way most record deals do. And I just wanted to do something really different than what I had been doing now.

        I always had enjoyed the more rootsy, sort of country, bluesy stuff. I just started writing songs in that style, not orderly with a plan.

        And once I had a sort of a couple batch of songs, started looking for band members, I knew I was never a good singer anyway, so I figured I need to find myself a good singer. So. Till and I had known each other for a long time. We grew up in the Bay Area together, so I already had my eye on her for a long time.

        And it was just sort of natural. I just said, hey, do you know any. You know, any women who play the ukulele and sing that might want to.

        Speaker B

        00:03:15.290 - 00:03:16.650

        Join my band by chance?

        Speaker D

        00:03:17.850 - 00:03:20.810

        Yeah. And so that's kind of really how it worked with that.

        Speaker B

        00:03:21.550 - 00:03:24.430

        So did the band start out in California and then move to Texas?

        Speaker D

        00:03:24.670 - 00:03:38.910

        Yeah, we had the Mother Truckers out there until. And I moved here to Austin. And because we knew the music scene here in Austin was really strong, so. And we've been to Austin and I, we liked it.

        About five years ago we moved here and it's been going real good ever since.

        Speaker B

        00:03:39.390 - 00:03:47.230

        Talk a little bit about the early history of the Mother Truckers as a band, what y' all were working on, how you were getting your records out kind of leading up to now.

        Speaker C

        00:03:47.720 - 00:03:49.080

        By hook and by crook.

        Speaker A

        00:03:50.920 - 00:03:51.480

        True.

        Speaker C

        00:03:51.720 - 00:03:56.440

        When we first started out in the Bay Area, of course nobody knows your name.

        Speaker D

        00:03:57.560 - 00:04:02.680

        We had a lot of friends. We had a lot of friends, so it was easy for us to build up a following in the Bay Area.

        Speaker C

        00:04:02.840 - 00:04:13.640

        Yeah, we did. But, I mean, as far as getting someone behind you, we kind of had to do a lot of writing and gathering songs together.

        And we did an album out there, and that was great.

        Speaker D

        00:04:14.120 - 00:04:33.869

        There's no industry out there right now in the Bay Area. Of course, in la there is. There's no managers. There's no.

        I shouldn't say there's no managers or booking agents or labels, but there's just very few and they're very small. We had to go somewhere to get in and amongst an environment where there could be more opportunity for growth.

        Speaker C

        00:04:34.189 - 00:05:08.180

        Yeah. And when we moved out here to Austin, we started doing residencies at this club and that club, playing once a week.

        And when we did, it seemed like right away there were people, not many, but some people kind of keeping an eye on it. Taking pictures, saying, you know, you should talk to this person and that person.

        It seemed like there was an interweaving of a network of people that wanted bands that they liked to do well. And we fell in with some great people and got a chance over there at the Continental Club to start doing a gig over there.

        And, boy, it sure was great.

        Speaker B

        00:05:09.940 - 00:05:20.140

        Y' all have had a lot of really nice support from other musicians that we know. Guy named Don Gallardo and a guy named Phil Hurley of Stonehoney. Both have just consistently had really nice things to say about y'.

        Speaker D

        00:05:20.140 - 00:05:20.220

        All.

        Speaker B

        00:05:20.220 - 00:05:23.440

        And there is no higher compliment than from one music to another.

        Speaker C

        00:05:23.840 - 00:05:24.720

        That's the truth.

        Speaker D

        00:05:24.800 - 00:05:29.880

        Absolutely. Those guys we've both known for a while now, and we both enjoy Stone Honey.

        Speaker C

        00:05:29.880 - 00:05:43.280

        You know, we. We were so just blown away by them. And I think I embarrass myself at their shows because I'll.

        I'll be standing right up front and singing the words, all the words to their song. So I just think they're great. Just enjoy them.

        Speaker B

        00:05:43.600 - 00:05:46.400

        That's very nice. What leads you up to where y' all are now?

        Speaker C

        00:05:46.800 - 00:06:13.410

        Well, we've made three albums in Austin. The fourth one we made in San Francisco before all that, but, you know, just touring. We had one record deal, which we got out of.

        And so making this album was really a run for freedom. And it's been so great.

        We've been getting some great support also from the press here in Austin, but also from Little Steven on his syndicated program, the Little Steven's Underground Garage on Sirius.

        Speaker B

        00:06:13.410 - 00:06:14.410

        He's awesome.

        Speaker C

        00:06:14.650 - 00:06:21.290

        He picked our song Summer of Love as one of the coolest songs in the world, which is such an honor because he.

        Speaker D

        00:06:21.820 - 00:06:22.740

        Because he's Little Steven.

        Speaker C

        00:06:22.740 - 00:06:28.620

        He's Little Steven. And he just. His program, so great. The music he spins on that program is just. It's great.

        Speaker B

        00:06:28.700 - 00:06:29.660

        I totally agree.

        Speaker A

        00:06:29.660 - 00:06:30.620

        When I grow up, I'm going to.

        Speaker B

        00:06:30.620 - 00:06:31.340

        Be just like him.

        Speaker C

        00:06:32.300 - 00:06:35.500

        Me, too. We can get the bandanas now.

        Speaker B

        00:06:35.500 - 00:06:46.380

        Exactly. I've got the hair. Other than that, he really is great. That is so cool that that has happened for you all.

        So talk a little bit about the good things about this Run for Freedom on this new release.

        Speaker C

        00:06:47.700 - 00:06:49.300

        You want to field this one, babe?

        Speaker D

        00:06:49.380 - 00:07:17.000

        Well, just. It's the same story that every. Well, not every band, but many bands have, is having a manager and a label that don't have your best interest in mind.

        Bottom line, that can be really frustrating and very difficult. So just the absence of that and just being able to do things on our terms the way we feel is best. Obviously, Is a liberating experience.

        It puts the fun back into the music. Makes you feel less like you have a job, more like you're just doing.

        Speaker B

        00:07:17.000 - 00:07:20.720

        What you love and you're getting ready to take this on the road with the van tour.

        Speaker A

        00:07:20.720 - 00:07:21.800

        What's coming up with that?

        Speaker C

        00:07:22.360 - 00:07:36.760

        Well, we're doing some dates on the west coast, in the south and in the southwest we're doing, you know, Albuquerque, New Mexico and Phoenix and we're doing a whole California potpourri of dates. And then we go head over to Europe.

        Speaker B

        00:07:37.240 - 00:07:37.960

        Woo hoo.

        Speaker C

        00:07:38.280 - 00:07:40.200

        I know that's gonna really be fun.

        Speaker D

        00:07:40.600 - 00:07:42.200

        Germany and Denmark over there.

        Speaker B

        00:07:42.600 - 00:07:45.320

        Are you doing like a VW Vestfalia van tour there?

        Speaker D

        00:07:45.710 - 00:07:51.310

        I found that if you, if you hit the coast in the van going fast enough, you can make it across the Atlantic.

        Speaker B

        00:07:52.510 - 00:07:55.630

        So do y' all have any kind of sponsors with that, with the van tour?

        Speaker D

        00:07:55.870 - 00:07:56.190

        No.

        Speaker C

        00:07:56.190 - 00:07:58.150

        Do you have anybody in mind for us?

        Speaker A

        00:07:58.150 - 00:07:58.430

        No.

        Speaker B

        00:07:58.430 - 00:08:00.670

        I was hoping you did. I was going to let you plug it.

        Speaker C

        00:08:00.830 - 00:08:05.150

        Well, I know. Let me see. I'll. Can I plug my dream, My wish list?

        Speaker B

        00:08:05.150 - 00:08:06.270

        Hey, yeah, let's do it.

        Speaker C

        00:08:06.430 - 00:08:08.390

        Well, I can't give them free advertising.

        Speaker A

        00:08:08.390 - 00:08:08.830

        True.

        Speaker C

        00:08:08.830 - 00:08:11.550

        They've just got to come get on board and then we'll call you back.

        Speaker B

        00:08:11.550 - 00:08:27.620

        Well, I'll tell you what, There is plenty of opportunity for any kind of movie, mobile living situation. Who is looking for one kick band to support on this van tour? I'll just put it out there. Listen, I have no shame.

        Speaker C

        00:08:27.940 - 00:08:44.660

        We announced that tour. We started getting a lot of orders from Denmark, Germany, Australia and all kinds of places which I'm very grateful for.

        And hopefully people will come out and see us. And this will be the first of many trips over there....]]>180e1382-5c96-4237-8931-19b65b4c7f2eFri, 13 Feb 2026 02:02:00 -040021:03truefull12161216Country Fried Rock 1233: Midnight Salvage's Brason Alexander From Craigslist to ConcertsSummary

        From 2012: Brace yourself for some serious tunes and good vibes as Brason Alexander from Midnight Salvage hops on the mic with the gang at Country Fried Rock. They dive deep into the band’s origin story, filled with college antics, Craigslist connections, and the quest for musical magic that kicked off their journey. Brason spills the beans on how their sound has evolved, especially after bringing in a new drummer who’s been a game-changer for their live performances. The convo gets juicy with insights on the recording process, their ambitions for a bigger, bolder sound, and how they’re not just going to stick to the same ol' formula; oh no, they’re aiming to get all experimental and push boundaries this time around. Tune in for a laid-back chat that’s packed with musical passion and a sprinkle of good ol’ humor; this episode is a must-listen for any music lover!

        Links

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

        
        

        • Brason Alexander
        • Midnight Salvage
        • Alexander was later in Mismatched Black
        • You may also enjoy this conversation with Annie Rothschild of Paladino from 2012
        
        

        Show Notes

        In this episode, Country Fried Rock welcomes Brason Alexander from Midnight Salvage for a laid-back, honest, and often hilarious look at the winding road of building a band from scratch.

        Here’s what you’ll hear in the conversation:

        • From friends to bandmates:
        • Brason shares how a spontaneous family trip set things in motion—returning to find his longtime friend Brian Keel had taken some loose musical ideas and turned them into full-fledged songs.
        • Craigslist, chaos, and commitment:
        • The pair’s search for bandmates through unconventional means (yes, Craigslist) brings laughs and insight into the unpredictable process of forming a band.
        • Garage shows to studio sessions:
        • Brason talks about the evolution from casual gigs to recording their first album, focusing on quality over quantity and the decision to take their sound seriously.
        • Poetry before notes:
        • Songwriting started early for Brason—ditching classroom notes for poems in high school, laying the foundation for his expressive and thoughtful lyrics.
        • A sound shaped by family and influence:
        • With roots in a wide range of musical styles, Brason discusses how family and eclectic tastes helped shape Midnight Salvage’s unique blend of sounds.
        • The Brason–Brian dynamic:
        • Collaboration is key. Brason opens up about how he and Brian developed a creative partnership built on support, honesty, and mutual inspiration.
        • Studio revelations:
        • The recording process brought unexpected lessons. Brason reflects on working with a producer, the clarity it brought to their sound, and learning when to step back and let the music breathe.
        • Eyes on the future:
        • With new music in the works, Brason hints at pushing creative boundaries while staying grounded in the band’s origins and core values.
        
        

        This episode is packed with storytelling, creative process insights, and the kind of real talk that makes you feel like you’re right there in the room.

        A must-listen for anyone who loves music built on friendship, passion, and a little bit of chaos.

        Chapters

        • 00:09 - Introducing Brason Alexander
        • 03:19 - The Evolution of Midnight Salvage
        • 06:00 - Transitioning to a New Album and Sound
        • 14:23 - The Transition to Touring and Family Life
        • 18:30 - The Evolution of the Band: Changes and Challenges
        • 20:00 - Transition to New Music Recording
        
        

        Takeaways

        • Brason and Brian's musical journey is a testament to the power of friendship and collaboration, showcasing how a spontaneous idea can evolve into a passionate band like Midnight Salvage.
        • The creative process of songwriting is an intricate dance, where influences are borrowed and transformed, reflecting a deep connection among band members that fuels their artistic endeavors.
        • The transition from casual gigs to a serious recording process reveals the band's growth and commitment to refining their sound, demonstrating that quality often trumps quantity in music.
        • The importance of having a skilled producer in the studio cannot be underestimated, as it can drastically shape the musical output, guiding the band to craft a clearer and more polished sound.
        • Emphasizing experimentation over formulaic songwriting, the band aims to enhance their musical complexity while still creating catchy tunes that resonate with their audience.
        • As Midnight Salvage prepares for their next album, they reflect on past experiences and aim to bring new elements into their music, showcasing their aspiration for growth and innovation.
        
        

        Mentioned in this Episode

        • Midnight Salvage
        • Craigslist
        • Aubrey Shelton
        • Conrad Uno
        • Nixon
        • Nuci's Space
        • Full Tones
        • Steve Soto
        • Twisted Hearts
        
        

        Recommended If You Like

        country fried rock, Midnight Salvage, musician interviews, band formation, songwriting process, Tacoma music scene, Americana music, local music gigs, garage band recording, music creativity, songwriting inspiration, band member dynamics, indie music podcasts, local shows, music collaboration, recording albums, live performance tips, music community support, emerging artists, music industry challenges

        Transcript

        Speaker A

        00:00:00.800 - 00:00:13.920

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Brayson Alexander of the band Midnight Salvage. Welcome.

        Speaker B

        00:00:14.080 - 00:00:15.280

        Thank you. Thanks for having me.

        
        

        Speaker A

        00:00:15.280 - 00:00:21.760

        Thanks for being on Country Fried Rock. Let's set the stage for people who may not be familiar with Midnight Salvage yet. How did y' all get together as a band?

        
        

        Speaker B

        00:00:22.160 - 00:00:56.550

        It's been a different ride. Brian Keel, our lead guitar player. Been friends for a while, and in college I actually spoke. I left for Christmas vacation to go see my family.

        
        

        I stuck a bunch of stuff on his door and just left kind of in a hurry. When I got back, he actually had music to it and I thought it would kick off from there, but then it just.

        
        

        We both kind of went different ways for a while, but then we kind of got back together. He started teaching me how to play guitar. Finally we said, we need to. Let's see if we can get a band, see what we can do.

        
        

        So we talked to his friend, which now is his brother in law, into going from guitar to bass. And then we found a drummer on Craigslist.

        
        

        Speaker A

        00:00:57.030 - 00:00:57.750

        That's awesome.

        
        

        Speaker B

        00:00:58.070 - 00:01:25.510

        And so then we started that and it was more just a thing of, let's see, let's play a gig, okay, let's play two gigs, let's play this. Let's try and make an album in the garage. Essentially, we did. The brother in law just got too busy is our new drummer.

        
        

        He's been with us for about a year or so. We knew him from other bands and when our other drummer left, we were starting the process of finding a drummer and we were actually shocked.

        
        

        He called us and said, hey, you guys looking for a drummer? I'd be interested. And we found out. We were excited. We were like, okay.

        
        

        Speaker A

        00:01:26.050 - 00:01:29.330

        More and more bands are finding bandmates through Craigslist.

        
        

        Speaker B

        00:01:29.570 - 00:02:03.860

        Yeah, it's kind of like themats.com for bands. Poetry then started off. When I was in high school, I hated English because they always had seating charts by your first and last name.

        
        

        It's switching that semester. Well, being Brace and Alexander, I'm sitting in the front every time they switch the chart.

        
        

        So the key from getting in trouble without paying attention, I just wrote stuff, you know, Even when I got into college, I still, like, end up writing, like, more of my own stuff than notes I took and just kind of kept at it. And I didn't know what I was doing with it. I just kept doing it just for, I don't know, probably some kind of release. Or whatever.

        
        

        But that's kind of how that started.

        
        

        Speaker A

        00:02:04.260 - 00:02:05.940

        Were you into music as a fan?

        
        

        Speaker B

        00:02:06.100 - 00:02:31.920

        Yeah, I loved music a lot when I was younger. I didn't play anything. We had this piano in the basement.

        
        

        To this...]]>Summary

        From 2012: Brace yourself for some serious tunes and good vibes as Brason Alexander from Midnight Salvage hops on the mic with the gang at Country Fried Rock. They dive deep into the band’s origin story, filled with college antics, Craigslist connections, and the quest for musical magic that kicked off their journey. Brason spills the beans on how their sound has evolved, especially after bringing in a new drummer who’s been a game-changer for their live performances. The convo gets juicy with insights on the recording process, their ambitions for a bigger, bolder sound, and how they’re not just going to stick to the same ol' formula; oh no, they’re aiming to get all experimental and push boundaries this time around. Tune in for a laid-back chat that’s packed with musical passion and a sprinkle of good ol’ humor; this episode is a must-listen for any music lover!

        Links

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

        
        

        • Brason Alexander
        • Midnight Salvage
        • Alexander was later in Mismatched Black
        • You may also enjoy this conversation with Annie Rothschild of Paladino from 2012
        
        

        Show Notes

        In this episode, Country Fried Rock welcomes Brason Alexander from Midnight Salvage for a laid-back, honest, and often hilarious look at the winding road of building a band from scratch.

        Here’s what you’ll hear in the conversation:

        • From friends to bandmates:
        • Brason shares how a spontaneous family trip set things in motion—returning to find his longtime friend Brian Keel had taken some loose musical ideas and turned them into full-fledged songs.
        • Craigslist, chaos, and commitment:
        • The pair’s search for bandmates through unconventional means (yes, Craigslist) brings laughs and insight into the unpredictable process of forming a band.
        • Garage shows to studio sessions:
        • Brason talks about the evolution from casual gigs to recording their first album, focusing on quality over quantity and the decision to take their sound seriously.
        • Poetry before notes:
        • Songwriting started early for Brason—ditching classroom notes for poems in high school, laying the foundation for his expressive and thoughtful lyrics.
        • A sound shaped by family and influence:
        • With roots in a wide range of musical styles, Brason discusses how family and eclectic tastes helped shape Midnight Salvage’s unique blend of sounds.
        • The Brason–Brian dynamic:
        • Collaboration is key. Brason opens up about how he and Brian developed a creative partnership built on support, honesty, and mutual inspiration.
        • Studio revelations:
        • The recording process brought unexpected lessons. Brason reflects on working with a producer, the clarity it brought to their sound, and learning when to step back and let the music breathe.
        • Eyes on the future:
        • With new music in the works, Brason hints at pushing creative boundaries while staying grounded in the band’s origins and core values.
        
        

        This episode is packed with storytelling, creative process insights, and the kind of real talk that makes you feel like you’re right there in the room.

        A must-listen for anyone who loves music built on friendship, passion, and a little bit of chaos.

        Chapters

        • 00:09 - Introducing Brason Alexander
        • 03:19 - The Evolution of Midnight Salvage
        • 06:00 - Transitioning to a New Album and Sound
        • 14:23 - The Transition to Touring and Family Life
        • 18:30 - The Evolution of the Band: Changes and Challenges
        • 20:00 - Transition to New Music Recording
        
        

        Takeaways

        • Brason and Brian's musical journey is a testament to the power of friendship and collaboration, showcasing how a spontaneous idea can evolve into a passionate band like Midnight Salvage.
        • The creative process of songwriting is an intricate dance, where influences are borrowed and transformed, reflecting a deep connection among band members that fuels their artistic endeavors.
        • The transition from casual gigs to a serious recording process reveals the band's growth and commitment to refining their sound, demonstrating that quality often trumps quantity in music.
        • The importance of having a skilled producer in the studio cannot be underestimated, as it can drastically shape the musical output, guiding the band to craft a clearer and more polished sound.
        • Emphasizing experimentation over formulaic songwriting, the band aims to enhance their musical complexity while still creating catchy tunes that resonate with their audience.
        • As Midnight Salvage prepares for their next album, they reflect on past experiences and aim to bring new elements into their music, showcasing their aspiration for growth and innovation.
        
        

        Mentioned in this Episode

        • Midnight Salvage
        • Craigslist
        • Aubrey Shelton
        • Conrad Uno
        • Nixon
        • Nuci's Space
        • Full Tones
        • Steve Soto
        • Twisted Hearts
        
        

        Recommended If You Like

        country fried rock, Midnight Salvage, musician interviews, band formation, songwriting process, Tacoma music scene, Americana music, local music gigs, garage band recording, music creativity, songwriting inspiration, band member dynamics, indie music podcasts, local shows, music collaboration, recording albums, live performance tips, music community support, emerging artists, music industry challenges

        Transcript

        Speaker A

        00:00:00.800 - 00:00:13.920

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Brayson Alexander of the band Midnight Salvage. Welcome.

        Speaker B

        00:00:14.080 - 00:00:15.280

        Thank you. Thanks for having me.

        
        

        Speaker A

        00:00:15.280 - 00:00:21.760

        Thanks for being on Country Fried Rock. Let's set the stage for people who may not be familiar with Midnight Salvage yet. How did y' all get together as a band?

        
        

        Speaker B

        00:00:22.160 - 00:00:56.550

        It's been a different ride. Brian Keel, our lead guitar player. Been friends for a while, and in college I actually spoke. I left for Christmas vacation to go see my family.

        
        

        I stuck a bunch of stuff on his door and just left kind of in a hurry. When I got back, he actually had music to it and I thought it would kick off from there, but then it just.

        
        

        We both kind of went different ways for a while, but then we kind of got back together. He started teaching me how to play guitar. Finally we said, we need to. Let's see if we can get a band, see what we can do.

        
        

        So we talked to his friend, which now is his brother in law, into going from guitar to bass. And then we found a drummer on Craigslist.

        
        

        Speaker A

        00:00:57.030 - 00:00:57.750

        That's awesome.

        
        

        Speaker B

        00:00:58.070 - 00:01:25.510

        And so then we started that and it was more just a thing of, let's see, let's play a gig, okay, let's play two gigs, let's play this. Let's try and make an album in the garage. Essentially, we did. The brother in law just got too busy is our new drummer.

        
        

        He's been with us for about a year or so. We knew him from other bands and when our other drummer left, we were starting the process of finding a drummer and we were actually shocked.

        
        

        He called us and said, hey, you guys looking for a drummer? I'd be interested. And we found out. We were excited. We were like, okay.

        
        

        Speaker A

        00:01:26.050 - 00:01:29.330

        More and more bands are finding bandmates through Craigslist.

        
        

        Speaker B

        00:01:29.570 - 00:02:03.860

        Yeah, it's kind of like themats.com for bands. Poetry then started off. When I was in high school, I hated English because they always had seating charts by your first and last name.

        
        

        It's switching that semester. Well, being Brace and Alexander, I'm sitting in the front every time they switch the chart.

        
        

        So the key from getting in trouble without paying attention, I just wrote stuff, you know, Even when I got into college, I still, like, end up writing, like, more of my own stuff than notes I took and just kind of kept at it. And I didn't know what I was doing with it. I just kept doing it just for, I don't know, probably some kind of release. Or whatever.

        
        

        But that's kind of how that started.

        
        

        Speaker A

        00:02:04.260 - 00:02:05.940

        Were you into music as a fan?

        
        

        Speaker B

        00:02:06.100 - 00:02:31.920

        Yeah, I loved music a lot when I was younger. I didn't play anything. We had this piano in the basement.

        
        

        To this day, I still regret not doing more than anything banging on it really hard, pretending I was Jerry Lee Lewis for five seconds. I used to listen to a lot of our radio stations. I didn't sleep a lot and my mom actually bought me old stereo.

        
        

        And I remember I'd stay up nights listening that. Used to play all the new stuff later in the night. And I kind of like. It was my chance to try and predict which song would become popular.

        
        

        Speaker A

        00:02:32.000 - 00:02:33.280

        What were you successful with?

        
        

        Speaker B

        00:02:33.840 - 00:02:40.560

        You know, I can't remember back then it was, but pretty good. I think from the get go. It was entertaining, to say the least.

        
        

        Speaker A

        00:02:40.560 - 00:02:42.640

        What kind of stuff did you like to listen to at that point?

        
        

        Speaker B

        00:02:42.640 - 00:03:18.760

        You know, when I was younger, there's kind of three camps of music that I dealt with. My dad was a big country fan when I was with him and fishing and stuff like that. It was, you know, Johnny Cash, Waylon Jennings, John Connolly.

        
        

        I think we played the John Connolly tape till it burned out. And my mom was kind of the rule of the roost as far as the music played in the house. So it always had to be something a little more prettier.

        
        

        Simon Garfunkel, Elton John, and then my brothers. I have three older brothers. They were the next big influence for me because they were old enough to start buying albums.

        
        

        But they actually had me into anything from a lot of rap, you know, Marvin Gay, to anything.

        
        

        Speaker A

        00:03:19.250 - 00:03:28.130

        As you all came together with the early stages of Midnight Salvage, how did you and Brian in particular, continue that relationship of the writing and the developing the song itself?

        
        

        Speaker B

        00:03:28.530 - 00:04:23.100

        Well, early on I'd have to steal riffs from Brian and try and match. For some reason, I'm pretty lucky in that when I get some music, I write a bunch of stuff. Like if he gives me something I really like in my head.

        
        

        There's three or four things that I've written down that match that now always takes a little massage. And so early on he would give me something and I would try and copy it.

        
        

        And then I really needed to be able to play it musically, which early on was very tough. I wasn't the greatest guitar player there was. Still not, but that's all right.

        
        

        And then I found out quickly that I had to get better musically at least. I didn't have to play anything great, but I had to be able to get through Chords and find chords I liked and stuff like that.

        
        

        So then I've gotten down the road where I can put stuff together somewhat musically. And then Brian is always kind of my savior. And the other guys are really starting to get good at it too, where, like, I'll get.

        
        

        Or I'll play something too repetitively. And he goes, no, we gotta go from here to here.

        
        

        Speaker A

        00:04:23.340 - 00:04:39.180

        There's a lot of give and take then in the process of developing a song at this point then, yeah, as you gathered and originally were forming kind of organically with, hey, let's play out, let's record. What routes did that take you all through? Were you hitting the road or were you just trying to play locally?

        
        

        Speaker B

        00:04:39.420 - 00:05:18.140

        We played a lot of local shows, you know, within about an hour radius of Tacoma, Seattle. We've always been a band that wants to sound good, so I think sometimes that takes preference over us trying to just go play a thousand gigs.

        
        

        Early on, we were just trying to play locally and say, okay, how does this sound? Later on, we added Aubrey Shelton on the keyboard, who's just awesome to have.

        
        

        But as we started getting different players and essentially better players, we all were playing too much, like, on top of each other. So as we played more, it was like, okay, who's going to back out here?

        
        

        That kind of became the process of trying to just make it a little smoother and not everyone just banging away at the same time.

        
        

        Speaker A

        00:05:18.300 - 00:05:23.260

        And so did that become real apparent for you in playing live, or was it when you finally got around to recording?

        
        

        Speaker B

        00:05:23.820 - 00:05:57.880

        I think the biggest ones, when we. When we got around recording, but live, it was live, were the littler lessons where. Where you learn, like, okay, we are doing it too much.

        
        

        But I think when we record, especially when we. We finally got to recording the album the right way and we got in with Conrad Uno, that's when, like, we play and, you know, record stuff.

        
        

        And then got to Nixon. We'd come in and he had pulled certain stuff out. We'd go, oh, wow.

        
        

        That's probably how we should have been playing that, where not everybody's jamming away. Like, let the. Let the. Let the piano go. Hey, this is Brayson Alexander with Midnight Savage Company. You're listening to Country Fried Rock.

        
        

        Speaker A

        00:05:57.960 - 00:05:59.960

        So how did you end up deciding to work with him?

        
        

        Speaker B

        00:06:00.120 - 00:07:11.410

        You know, when we started our album, we actually started with all the original members trying to do the album. We had recorded an ep, like just a demo to give to people to get in the doorway. It was what it was. You know, it's nothing. We're all playing nowadays.

        
        

        So we started, we said, okay, let's make a full length album. And we thought we could do it ourselves because we said, well, the EP is not our favorite thing in the world. But we got there.

        
        

        We started this process with all the original band members. We brought down a sound guy. We. We did a bunch of things and we just could not try to record individual parts.

        
        

        And even the drums and things, it just wasn't going well. And it kind of came like the.

        
        

        When we play out live, it became like the running question to dodge from people because they'd be like, hey, when's that? When's that album coming? And we'd be like, yeah, soon.

        
        

        And it literally about a year went by of when we first started recording and trying to do it ourselves.

        
        

        And then when Mike Haley joined the band and Dustin was now in the band for a couple months, we just really said, we got to do this the right way and get somebody in front front of us who takes care of it, and we can just worry about playing and not trying to do all that. So we contacted Conrad and we just kind of heard from other bands that he was a good guy to work through.

        
        

        And that's where Jimmy said, okay, let's go to him. It really sped up the process.

        
        

        Speaker A

        00:07:11.730 - 00:07:21.690

        As you went in initially to work with Conrad, you know, you had songs that had been fleshed out to a point. What else helped with having him there to kind of guide that process really.

        
        

        Speaker B

        00:07:21.690 - 00:08:07.470

        First, he's great to work with.

        
        

        I think we're all like the music enough and are proud of it enough, that when we go in there, we didn't want someone thinking they could just, you know, turn it into their album. We were all kind of on the fence, like, oh, this is our album.

        
        

        And he's just real easy to work with, but he gets his way at the end, which is great, so you don't feel like you're trampled on.

        
        

        The big one is still like, just when we listen to stuff back and he pulled things out and I think initially sometimes your feelings are hurt, but then you're like, wow, okay. I know for me, I played acoustic guitar at that time on everything, and we pulled a lot of it out.

        
        

        And at first I was like, well, geez, there goes my guitar parts. And then I was like, you know what? It's better that way. And even Brian would come and play some acoustic stuff.

        
        

        The big lesson for us is just trying to get it to sound a little more smooth and not ever limp on top of each other.

        
        

        Speaker A

        00:08:08.290 - 00:08:12.930

        How did that then translate as you had the record and took it out to play after the fact.

        
        

        Speaker B

        00:08:13.330 - 00:08:40.910

        I think it's made us a lot better. It's made where things are clear, where lyrics are clear. You can hear those clear or that guitar solo or drum solo or piano solo. And even on the.

        
        

        The one song, 21st street, we have Courtney Shelton, who's our keyboardist's wife, plays violin. And early on, she played a lot more than this on the album. And I. When they pulled a little bit out of it, it made it emphasized the parts and they.

        
        

        And it makes those parts even more special.

        
        

        Speaker A

        00:08:41.310 - 00:08:46.510

        What has changed about the songs in this? There's been quite a bit of time since this has happened.

        
        

        Speaker B

        00:08:46.590 - 00:09:19.930

        A big difference is the drummer. Mike Haley, our new drummer, is just very. He's very consistent. He knows when to pull out and kind of come in at right parts. Dustin Lau, our bassist.

        
        

        I mean, Dustin La, just. He can. He makes these great little bass parts where he does little bass runs.

        
        

        And when we listen to the album back, I was just like, wow, that's what he play. That's awesome.

        
        

        And I...]]>aa624538-ec46-4395-b30d-3f8d1ab9ddd5Fri, 06 Feb 2026 02:02:00 -040025:01truefull12331233Country Fried Rock 1231: Derek Hoke From Rural South Carolina VFW Halls to NashvilleSummary

        From 2012: Derek Hoke joins the Country Fried Rock crew for a chat that dives deep into his musical journey, with a special spotlight on his latest record, Goodbye Rock and Roll. He kicks things off by reminiscing about his punk rock roots, where he first caught the music bug, strumming guitars and belting out catchy tunes about World War III, classic teenage angst, right? As the convo unfolds, Hoch reveals how moving to Nashville was like jumping into the deep end, forcing him to shed his old skin and explore a more authentic sound that vibes with the city's rich musical tapestry. He spills the beans on the creative process behind his new album, highlighting how collaboration with pals like Dexter Green led to a unique blend of country and blues, all while keeping it refreshingly simple and relatable. With a wink and a nod, Hoke also shares the joy of fostering a community of artists eager to showcase their original tunes, making Nashville not just a backdrop, but a vibrant stage for fresh talent.

        Links

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

        
        

        • Derek Hoke
        • Derek Hoke on Bandcamp
        • You may also enjoy this conversation with The Famous from 2012
        
        

        Show Notes

        Finding His Footing in Punk and Beyond

        • Derek Hoke looks back on his early days playing guitar and piano with a punk rock edge

        • Shares memories of chasing loud, fast music and the energy that came with it

        • Talks about the shift from covering songs in smoky bars to writing his own stories through music

        The Move to Nashville and a Musical Reset

        • Recalls the moment he knew it was time to take his craft seriously and move to Nashville

        • Describes the challenges of carving out space in a city filled with talent

        • Realizes that authenticity resonates more than nostalgia-driven covers

        Birth of the ‘Quiet Billy’ Sound

        • Introduces his unique musical identity, a blend of country cool and bluesy rhythm

        • Talks about stripping songs down to their essence and letting the lyrics breathe

        • Shares how simplicity became a guiding force in his creative process

        Goodbye Rock and Roll and New Creative Horizons

        • Offers a behind-the-scenes look at the making of his latest album

        • Describes the balance of upbeat energy and emotional depth in the new tracks

        • Reflects on how the album captures both personal growth and musical exploration

        Collaboration, Identity, and Creative Clarity

        • Opens up about finding his voice after years of playing other people’s songs

        • Talks about the push and pull between reinvention and staying true to his roots

        • Highlights the joy of collaboration and how it keeps the process fresh

        Connection Over Perfection

        • Emphasizes the power of live shows, from cozy coffee shops to full-band gigs

        • Shares how performance is less about polish and more about presence

        • Stresses the importance of real connection with listeners and shared moments through music

        Why This Episode Matters

        • Derek’s story is about evolving without losing heart

        • He brings humor, humility, and clarity to the winding path of a working musician

        • It’s a reminder that sometimes the quietest songs say the most

        Tune in to hear Derek Hoke reflect on his musical journey, the making of Goodbye Rock and Roll, and why honesty always wins in the end. Available now wherever you get your podcasts.

        Chapters

        • 00:09 - Introducing Derek Hoke
        • 03:25 - Finding My Voice: The Journey to Songwriting
        • 07:45 - The Evolution of Sound: From Rock to Country
        • 12:54 - The Journey of New Music
        • 13:50 - Exploring Musical Influences
        • 18:31 - The Beauty of Vinyl and the Music Experience
        
        

        Takeaways

        • Derek Hoke's journey into music began with an early fascination for guitars and pianos, leading him to join punk rock bands where he discovered his passion for songwriting.
        • The transition to Nashville was a pivotal moment for Derek, as it challenged him to refine his identity as a songwriter amidst a sea of talented musicians.
        • Derek emphasizes the importance of live performances in shaping his music, revealing that direct audience feedback is crucial for artistic growth and self-discovery.
        • He describes the unique atmosphere of Nashville's music scene, where collaboration and support among artists thrive, creating an environment conducive to creative exploration.
        • Derek's latest album, Goodbye Rock and Roll, showcases his evolution as an artist, blending various influences while maintaining a distinctive sound that resonates with listeners.
        • The conversation touches on the significance of simplicity in songwriting, highlighting how embracing straightforward narratives can lead to a more genuine and relatable musical experience.
        
        

        Mentioned in this Episode

        • Nuci's Space
        • Country Fried Rock
        • Full Tones
        • Steve Soto
        • Twisted Hearts
        • Raconteurs
        • Chris Scruggs
        • Lyle Lovett
        • Jim Lauderdale
        • Eric Brace
        • Peter Cooper
        • Jason Isbell
        • Dexter Green
        • Florence
        • Nashville
        • Columbia
        • Spartanburg
        • Charleston
        • Magic Sam
        • Sam Cooke
        • Corey Chisel
        • Patrick Keeler
        • Jack Lawrence
        • Collective Soul
        • Ricky Skaggs
        • Luke Bullo
        
        

        Recommended If You Like

        country music, Nashville musicians, Derek Hoch, Goodbye Rock and Roll, songwriting process, creative inspiration, indie music scene, live performance, music feedback, punk rock origins, country fried rock podcast, music collaboration, acoustic guitar, songwriting identity, music influences, R&B in country, album production, mental health in music, music samplers, Southern blues music

        Transcript

        Speaker A

        00:00:00.800 - 00:00:18.680

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

        My guest today on Country Fried Rock is Derek Hoch with his last record, Goodbye Rock and Roll has some brand new music for us this year. Looking forward to chatting with him today. Welcome, Derek Hoch.

        
        

        Speaker B

        00:00:18.680 - 00:00:20.000

        Hey, Sloan, how are you?

        
        

        Speaker A

        00:00:20.080 - 00:00:34.940

        Great. Thanks for being with us.

        
        

        Yeah, I had the opportunity to hear you play a few times and the first thing I heard was that last record of Goodbye Rock and Roll, which was a great treat, but the bigger treat was getting to hear you a few times. Nashville over the last couple years. How did you get started playing music?

        
        

        Speaker B

        00:00:35.340 - 00:01:05.990

        At an early age, I could hear hear music and started kind of picking up guitars and pianos and could pick out melodies on these instruments that I didn't know how to play very basic things and kind of kept learning the guitar and got okay at it and joined little punk rock bands and, you know, started writing my own stuff, started learning how to sing and play at the same time, which was very difficult at the time. Basically what happens is I fell in love with all of it and I couldn't stop doing it. I couldn't wait to do it. That was. You got the bug.

        
        

        You got the bug.

        
        

        Speaker A

        00:01:06.070 - 00:01:09.590

        When you were in your early punk rock bands, were y' all writing originals at that point?

        
        

        Speaker B

        00:01:09.750 - 00:01:23.750

        Yeah. The first song I ever wrote was a song called say Goodbye, Punk rock song about like, World War III and whatever Reagan era paranoia was going on.

        
        

        I was very proud of it. Like, it was catchy and fast and I wrote it.

        
        

        Speaker A

        00:01:24.190 - 00:01:25.230

        Were you gigging then?

        
        

        Speaker B

        00:01:25.230 - 00:01:31.790

        Yeah, we played all the little VFWs, church basements and wherever we could play and just had fun doing it.

        
        

        Speaker A

        00:01:32.190 - 00:02:00.810

        Several great musician friends of Country Fried Rock generously donated songs for a free music sampler.

        
        

        Download it at noise trade.com countryfriderock 19 songs to help raise awareness and money for Nucci Space, a nonprofit serving the mental health needs of musicians in the Athens, Georgia area.

        
        

        Find out more about Nucci's at n u c I.org and so at what point did you move toward whatever form of music you were doing of like, this is what I'm going to do with myself.

        
        

        Speaker B

        00:02:01.210 - 00:02:26.450

        That came, like, later in high school, starting to write my own stuff and not really having an identity though, with it. Like, I wrote all this music but, you know, one song that's like an RM song, some other songs on like a Chris Isaac song or...]]>Summary

        From 2012: Derek Hoke joins the Country Fried Rock crew for a chat that dives deep into his musical journey, with a special spotlight on his latest record, Goodbye Rock and Roll. He kicks things off by reminiscing about his punk rock roots, where he first caught the music bug, strumming guitars and belting out catchy tunes about World War III, classic teenage angst, right? As the convo unfolds, Hoch reveals how moving to Nashville was like jumping into the deep end, forcing him to shed his old skin and explore a more authentic sound that vibes with the city's rich musical tapestry. He spills the beans on the creative process behind his new album, highlighting how collaboration with pals like Dexter Green led to a unique blend of country and blues, all while keeping it refreshingly simple and relatable. With a wink and a nod, Hoke also shares the joy of fostering a community of artists eager to showcase their original tunes, making Nashville not just a backdrop, but a vibrant stage for fresh talent.

        Links

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

        
        

        • Derek Hoke
        • Derek Hoke on Bandcamp
        • You may also enjoy this conversation with The Famous from 2012
        
        

        Show Notes

        Finding His Footing in Punk and Beyond

        • Derek Hoke looks back on his early days playing guitar and piano with a punk rock edge

        • Shares memories of chasing loud, fast music and the energy that came with it

        • Talks about the shift from covering songs in smoky bars to writing his own stories through music

        The Move to Nashville and a Musical Reset

        • Recalls the moment he knew it was time to take his craft seriously and move to Nashville

        • Describes the challenges of carving out space in a city filled with talent

        • Realizes that authenticity resonates more than nostalgia-driven covers

        Birth of the ‘Quiet Billy’ Sound

        • Introduces his unique musical identity, a blend of country cool and bluesy rhythm

        • Talks about stripping songs down to their essence and letting the lyrics breathe

        • Shares how simplicity became a guiding force in his creative process

        Goodbye Rock and Roll and New Creative Horizons

        • Offers a behind-the-scenes look at the making of his latest album

        • Describes the balance of upbeat energy and emotional depth in the new tracks

        • Reflects on how the album captures both personal growth and musical exploration

        Collaboration, Identity, and Creative Clarity

        • Opens up about finding his voice after years of playing other people’s songs

        • Talks about the push and pull between reinvention and staying true to his roots

        • Highlights the joy of collaboration and how it keeps the process fresh

        Connection Over Perfection

        • Emphasizes the power of live shows, from cozy coffee shops to full-band gigs

        • Shares how performance is less about polish and more about presence

        • Stresses the importance of real connection with listeners and shared moments through music

        Why This Episode Matters

        • Derek’s story is about evolving without losing heart

        • He brings humor, humility, and clarity to the winding path of a working musician

        • It’s a reminder that sometimes the quietest songs say the most

        Tune in to hear Derek Hoke reflect on his musical journey, the making of Goodbye Rock and Roll, and why honesty always wins in the end. Available now wherever you get your podcasts.

        Chapters

        • 00:09 - Introducing Derek Hoke
        • 03:25 - Finding My Voice: The Journey to Songwriting
        • 07:45 - The Evolution of Sound: From Rock to Country
        • 12:54 - The Journey of New Music
        • 13:50 - Exploring Musical Influences
        • 18:31 - The Beauty of Vinyl and the Music Experience
        
        

        Takeaways

        • Derek Hoke's journey into music began with an early fascination for guitars and pianos, leading him to join punk rock bands where he discovered his passion for songwriting.
        • The transition to Nashville was a pivotal moment for Derek, as it challenged him to refine his identity as a songwriter amidst a sea of talented musicians.
        • Derek emphasizes the importance of live performances in shaping his music, revealing that direct audience feedback is crucial for artistic growth and self-discovery.
        • He describes the unique atmosphere of Nashville's music scene, where collaboration and support among artists thrive, creating an environment conducive to creative exploration.
        • Derek's latest album, Goodbye Rock and Roll, showcases his evolution as an artist, blending various influences while maintaining a distinctive sound that resonates with listeners.
        • The conversation touches on the significance of simplicity in songwriting, highlighting how embracing straightforward narratives can lead to a more genuine and relatable musical experience.
        
        

        Mentioned in this Episode

        • Nuci's Space
        • Country Fried Rock
        • Full Tones
        • Steve Soto
        • Twisted Hearts
        • Raconteurs
        • Chris Scruggs
        • Lyle Lovett
        • Jim Lauderdale
        • Eric Brace
        • Peter Cooper
        • Jason Isbell
        • Dexter Green
        • Florence
        • Nashville
        • Columbia
        • Spartanburg
        • Charleston
        • Magic Sam
        • Sam Cooke
        • Corey Chisel
        • Patrick Keeler
        • Jack Lawrence
        • Collective Soul
        • Ricky Skaggs
        • Luke Bullo
        
        

        Recommended If You Like

        country music, Nashville musicians, Derek Hoch, Goodbye Rock and Roll, songwriting process, creative inspiration, indie music scene, live performance, music feedback, punk rock origins, country fried rock podcast, music collaboration, acoustic guitar, songwriting identity, music influences, R&B in country, album production, mental health in music, music samplers, Southern blues music

        Transcript

        Speaker A

        00:00:00.800 - 00:00:18.680

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

        My guest today on Country Fried Rock is Derek Hoch with his last record, Goodbye Rock and Roll has some brand new music for us this year. Looking forward to chatting with him today. Welcome, Derek Hoch.

        
        

        Speaker B

        00:00:18.680 - 00:00:20.000

        Hey, Sloan, how are you?

        
        

        Speaker A

        00:00:20.080 - 00:00:34.940

        Great. Thanks for being with us.

        
        

        Yeah, I had the opportunity to hear you play a few times and the first thing I heard was that last record of Goodbye Rock and Roll, which was a great treat, but the bigger treat was getting to hear you a few times. Nashville over the last couple years. How did you get started playing music?

        
        

        Speaker B

        00:00:35.340 - 00:01:05.990

        At an early age, I could hear hear music and started kind of picking up guitars and pianos and could pick out melodies on these instruments that I didn't know how to play very basic things and kind of kept learning the guitar and got okay at it and joined little punk rock bands and, you know, started writing my own stuff, started learning how to sing and play at the same time, which was very difficult at the time. Basically what happens is I fell in love with all of it and I couldn't stop doing it. I couldn't wait to do it. That was. You got the bug.

        
        

        You got the bug.

        
        

        Speaker A

        00:01:06.070 - 00:01:09.590

        When you were in your early punk rock bands, were y' all writing originals at that point?

        
        

        Speaker B

        00:01:09.750 - 00:01:23.750

        Yeah. The first song I ever wrote was a song called say Goodbye, Punk rock song about like, World War III and whatever Reagan era paranoia was going on.

        
        

        I was very proud of it. Like, it was catchy and fast and I wrote it.

        
        

        Speaker A

        00:01:24.190 - 00:01:25.230

        Were you gigging then?

        
        

        Speaker B

        00:01:25.230 - 00:01:31.790

        Yeah, we played all the little VFWs, church basements and wherever we could play and just had fun doing it.

        
        

        Speaker A

        00:01:32.190 - 00:02:00.810

        Several great musician friends of Country Fried Rock generously donated songs for a free music sampler.

        
        

        Download it at noise trade.com countryfriderock 19 songs to help raise awareness and money for Nucci Space, a nonprofit serving the mental health needs of musicians in the Athens, Georgia area.

        
        

        Find out more about Nucci's at n u c I.org and so at what point did you move toward whatever form of music you were doing of like, this is what I'm going to do with myself.

        
        

        Speaker B

        00:02:01.210 - 00:02:26.450

        That came, like, later in high school, starting to write my own stuff and not really having an identity though, with it. Like, I wrote all this music but, you know, one song that's like an RM song, some other songs on like a Chris Isaac song or something.

        
        

        It was probably around my early 20s where I was like, I started kind of like, oh, that's a Derek Hoax song, you know, or I'd like. I like. It didn't sound like I was just totally ripping off somebody else.

        
        

        Speaker A

        00:02:26.530 - 00:02:30.530

        Were you doing a lot of live performance leading up to kind of finding your own voice?

        
        

        Speaker B

        00:02:30.770 - 00:03:02.220

        Yeah, that's how you find it. You have to do it in front of people to kind of get reactions and feedback.

        
        

        Or you're just in your room thinking you're amazing, you know, playing and playing and figuring out what works and where it works, what to play at the loud, smoky bars and what to play at the quiet, you know, more intimate places, and how to get your own music in there amongst the Billy Joel covers or whatever it is. You want people to ask you about your music. Like, hey, what was that song about? Whatever. Like, oh, that's one of my songs. Right.

        
        

        That's a huge compliment.

        
        

        Speaker A

        00:03:02.220 - 00:03:06.020

        Early on, were you on the road or were you working from a home base?

        
        

        Speaker B

        00:03:06.100 - 00:03:08.260

        Oh, that was all in Florence, South Carolina.

        
        

        Speaker A

        00:03:08.260 - 00:03:09.620

        There were that many places to play?

        
        

        Speaker B

        00:03:09.780 - 00:03:25.170

        Yeah, that's all I did. I played guitar with all kinds of people and got to be an okay guitar player and sang and played and did my own stuff, either solo or with a band.

        
        

        You know, go to Columbia and Spartanburg and Charleston, stuff like that. But mostly around Florence.

        
        

        Speaker A

        00:03:25.890 - 00:03:27.970

        What led to you moving on with your music?

        
        

        Speaker B

        00:03:28.370 - 00:04:18.980

        I felt like I wanted to do more, and I had more to kind of figure out about my own writing and where I was going with it. And then I moved to Nashville, and within the first week, I knew whatever I was doing in Florence was not going to work here.

        
        

        And so I got my butt kicked a little bit, which was the best thing ever.

        
        

        And I went through a lot of, you know, self discovery and trying to figure out who I was as a songwriter and a performer, because gone were the Smokey Bars cover songs. Everybody's listening, you know, not ripping it apart or dissecting it, but they want to hear what you have to say. I didn't have much to say.

        
        

        You know, I was too busy kind of rocking and rolling. It would just kind of fly over people's heads and I'd get away with it. Or here they won't, you know, they want to hear a complete thought.

        
        

        Had to go back to the drawing board for a couple of years.

        
        

        Speaker A

        00:04:19.620 - 00:04:22.900

        Did you work with any colleagues to develop where you wanted to be?

        
        

        Speaker B

        00:04:23.140 - 00:05:24.660

        I had some friends. I mean, mostly alone, but I had a lot of friends to bounce ideas off of.

        
        

        And I had a lot of brick walls going through, like, an identity crisis with, you know, drum machines and with Acoustic guitars and trying to be very clever with all this stuff.

        
        

        And I finally just sat down one day and started playing really quietly, some bluegrass music, very Mabel Carter kind of stuff, and singing very quietly.

        
        

        And all of a sudden, this whole new thing started happening where instead of me trying to be loud and try to captivate the room or, you know, get everybody's attention, I could now kind of sing very politely, if you will, and kind of like, oh, well, that's nice. You know, get people's attention a different way, but the same. The outcome is the same.

        
        

        So I started doing this really kind of sweetly singing croonery kind of stuff, and everybody loved it. And I loved it, too. It wasn't contrived in any way. It was just more like, oh, I just shut the hell up and sing and write some simple songs.

        
        

        And that kind of started clicking pretty easily after that. This is Derek Hoch.

        
        

        Speaker A

        00:05:24.740 - 00:05:33.940

        Kind of the plus and the minus of being in Nashville is that there are so many great writers, players. What helped you really solidify that?

        
        

        Speaker B

        00:05:34.460 - 00:06:03.660

        Playing all the time here and not feeling like there was any competition or I had to do anything specifically to fit in rather than be myself playing out as much as I could and playing with different musicians and getting a sound together.

        
        

        Started using a lot more upright bass, you know, brushes on drum sets and stuff like that, kind of developing the overall tone of the music, where when the band comes in, it's not Tom Petty's backup band. It's this quiet little shuffle and easy, breezy. I started calling it Quiet Billy.

        
        

        Speaker A

        00:06:04.540 - 00:06:05.820

        Billy, that's a great name.

        
        

        Speaker B

        00:06:05.980 - 00:06:19.100

        And I'd never really heard anybody do it. And so, yeah, people just started kind of gravitating or getting into it, and we started recording it.

        
        

        You know, record 30 songs and get 10 pretty good ones out of it, you know, and go. Just keep playing them as you kind.

        
        

        Speaker A

        00:06:19.100 - 00:06:29.570

        Of found this sound that was working. And with that much live playing, you were getting a lot of pretty quick feedback, at least from the audiences who were there.

        
        

        What was your recording looking like? Was it kind of song by song just to see what.

        
        

        Speaker B

        00:06:29.640 - 00:07:12.209

        What you had?

        
        

        Yeah, just pieced together, you know, songs I had written when I first moved here, re recorded or reinterpreted, and songs that were brand new that were these kind of throwback country songs. I just write pop songs. That's all I really ever knew how to do was write melodies and stuff like that, or catchy melodies.

        
        

        Some of these songs needed fiddles and steel guitar and all that stuff. They were begging for that stuff. And so Then it became like, very. Like a mystery. Am I playing country music now? I don't think so. It sounds that way.

        
        

        And I didn't mind that at all either, because it was country music like, I'd never really listened to. Maybe my grandfather did, but I'd never heard anything like this. So I know I didn't invent anything, but it sounded all. It sounded very unique to me.

        
        

        Speaker A

        00:07:12.770 - 00:07:15.970

        What you were writing was expressing the right feel.

        
        

        Speaker B

        00:07:16.450 - 00:07:42.990

        Yeah, I mean, we're all writing songs about the same things, you know, some girl and some town and all that stuff. I think the simpler. I started stating all of those things, it became liberating to just be so simple.

        
        

        Not think about anything too much and not worry about what somebody's going to think about these songs.

        
        

        But kind of writing them for myself and being comfortable enough to, like, I can't wait to play them for people, because I'm pretty sure they're going to like them.

        
        

        Speaker A

        00:07:43.470 - 00:07:46.750

        30 songs that were narrowed down to 10. Is that what led to Goodbye Rock and Roll?

        
        

        Speaker B

        00:07:46.830 - 00:08:14.410

        Yeah, Goodbye Rock and Roll was me and my buddy Dexter Green, who produced it, kind of whittling away. I basically play. I had. We'd record some of it. Someone was like, well, that's way too George Jones, not me. Or one would be just way too sad.

        
        

        And, you know, like, man, that's a little much. We kind of kept most of them kind of upbeat and fun, you know, some of the crowd pleasers.

        
        

        Most of the stuff that represented me instead of, you know, trying to be all over the map with it.

        
        

        Speaker A

        00:08:14.570 - 00:08:16.170

        Did you intend to work with Dexter?

        
        

        Speaker B

        00:08:16.250 - 00:08:27.170

        Yeah, totally. He's from Florence as well. But we'd never. And we were in that punk rock band together back in the day.

        
        

        It was the first time we had worked together and, you know, since we were teenagers then.

        
        

        Speaker A

        00:08:27.170 - 00:08:35.010

        Having someone on a creative level like that that you also have history with, how did that help in ultimately getting to what became that record?

        
        

        Speaker B

        00:08:35.330 - 00:09:02.630

        I think we knew each other so well that we could talk to each other very openly and fight and, you know, debate things. I mean, ultimately he was the boss and I totally trusted him. But, yeah, I think there's. The dialogue was very natural.

        
        

        It wasn't two strangers in a room trying to be creative. You know, it was just two guys hanging out, and I'm kind of writing all these songs that he hadn't heard.

        
        

        And, you know, we're both kind of flipping out over the people that wanted to be involved with the project and all these friends that we'd made.

        
        

        Speaker A

        00:09:03.110 - 00:09:06.470

        Which of your friends Were you able to bring in that you were thrilled to be able to bring in?

        
        

        Speaker B

        00:09:06.790 - 00:09:31.160

        Everybody we asked said yes. I kept calling it like coffee shop favors or it's just people that we always see everywhere.

        
        

        And then all of a sudden I]]>810958b5-24ee-4739-b219-87835c90db42Fri, 06 Feb 2026 02:02:00 -040020:54truefull12311231Country Fried Rock 1232: Lucero's Brian Venable Unhinged with HornsSummary

        From 2012: Brian Venable of Lucero drops in on Country Fried Rock to dish about the vibrant family vibe that permeates the music scene, especially with his band’s annual Family Picnic event. He dives deep into how this gathering isn’t just a concert; it’s a reunion of eclectic bands, each with their own unique sound yet tied together by a shared spirit of creativity and camaraderie. He reflects on his journey from a punk rock hobo kid to a seasoned musician, attributing much of his musical roots to his dad, who was a musician on Beale Street. As they chat, they explore the evolution of Lucero's sound, touching on their blend of rock and country, and how the addition of new members has sparked fresh creative energy. The conversation is a warm, entertaining dive into the heart of music-making, where experimentation meets tradition, and where every note is a step in a never-ending journey of artistic growth.

        Links

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

        
        

        • Lucero
        • Lucero on Bandcamp
        • You may also enjoy this conversation with Margo Price from 2012
        
        

        Show Notes

        In this episode of Country Fried Rock, we welcome Brian Venable of the beloved band Lucero for a warm, reflective, and deeply human conversation about music, roots, and the ties that bind creative souls together.

        Highlights from the conversation:

        • Musical roots run deep:
        • Brian shares how his dad’s hustle on Beale Street and deep musical background shaped his early exposure, even as Brian leaned more toward punk than blues.
        • Teenage rebellion with heart:
        • Hear about Brian’s early pushback against his father’s influence, his dive into punk zines and poetry, and how that spirit still fuels his creative life today.
        • Lucero’s evolution:
        • From garage beginnings to a band with a devoted community, Brian reflects on Lucero's growth and what it means to be more than just a group that plays songs.
        • A family picnic of bands:
        • Brian paints a vivid picture of the interconnected world of bands—those that may not always hit the charts but share history, stages, and mutual respect.
        • Genre is fluid:
        • Punk, country, and everything in between—Brian breaks down how Lucero's sound isn't boxed in, but shaped by emotion, experience, and experimentation.
        • On building creative community:
        • More than fame, Brian values the friendships and shared stages that form a kind of musical family tree, where influence flows freely across acts and time.
        • Candid and comforting:
        • A conversation filled with honesty, humor, and heart—perfect for anyone who’s ever wrestled with the push and pull of expectations versus passion.
        
        

        Listen in for a rich blend of storytelling, music history, and the kind of reflection that reminds us why we fall in love with bands like Lucero in the first place.

        Chapters

        • 00:09 - Introducing Brian Venable of Lucero
        • 01:06 - The Journey into Music
        • 04:48 - The Evolution of a Band
        • 12:07 - The Evolution of Live Performance and New Music Release
        • 19:40 - The Intersection of Music and Personal Choices
        
        

        Takeaways

        • The podcast dives deep into the creative process of Brian Venable from Lucero, exploring how his family influences shaped his passion for music, particularly his father's musical roots in Beale Street.
        • Brian shares his journey from a punk rock hobo to a band member, emphasizing the evolution of his musical style and the collaborative nature of songwriting in Lucero.
        • The discussion highlights the importance of community within the music scene, particularly through events like the Lucero Family Picnic, which fosters connections among various bands and artists.
        • Venable's reflections on the challenges and rewards of maintaining a long-lasting band lineup reveal insights into the music industry's dynamics and the evolution of musical identity over time.
        
        

        Mentioned in this Episode

        • Lucero
        • Glossary
        • Dramatic
        • Sub Pop
        • Revelation Records
        • Nuci's Space
        • Hearts of Palm
        
        

        Recommended If You Like

        Country Fried Rock, Lucero band interview, Brian Venable music, independent musicians, songwriting process, punk rock influences, Memphis music scene, Family Picnic festival, creative inspiration, band dynamics, touring experiences, music collaboration, rock and roll evolution, R&B and country fusion, music industry insights, mental health for musicians, Nucci's Space, music samplers, underground music scene, live music performance.

        Transcript

        Speaker A

        00:00:00.800 - 00:00:13.280

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Brian Venable of the band Lucero. Welcome, Brian.

        Speaker B

        00:00:13.280 - 00:00:14.000

        How you doing?

        
        

        Speaker A

        00:00:14.080 - 00:00:15.919

        Doing great. Thanks so much for being with us.

        
        

        Speaker B

        00:00:15.919 - 00:00:17.200

        Oh, man. Thank you for having me.

        
        

        Speaker A

        00:00:17.200 - 00:00:24.160

        Absolutely. I've always enjoyed your music. And I'll tell you when y' all came up again, interviewing some bands who played the Lucero Family Picnic.

        
        

        Speaker B

        00:00:24.320 - 00:00:25.200

        Which bands?

        
        

        Speaker A

        00:00:25.200 - 00:00:27.280

        Well, it started, I guess, with Glossary.

        
        

        Speaker B

        00:00:27.360 - 00:00:29.440

        Yeah, I thought he played Fellow steel with us.

        
        

        Speaker A

        00:00:29.440 - 00:00:34.700

        It was that connection, and then talking with some of the guys from Dramatic, and it was like this whole small family thing.

        
        

        Speaker B

        00:00:34.860 - 00:00:58.980

        We stopped doing it for a little bit, but we're bringing it back.

        
        

        But that's part of the reason why Family Picnic to me was so important, was there's this kind of weird little family of bands that tour constantly that don't sound the same, but are the same ilk. Maybe, for lack of a better word, I wanted a Sub Pop or Revelation Records or. I don't know, I thought it'd be cool to have a yearly get together.

        
        

        All the bands that tour a whole lot that aren't on the radar necessarily.

        
        

        Speaker A

        00:00:58.980 - 00:00:59.300

        Right.

        
        

        Speaker B

        00:00:59.300 - 00:01:01.450

        But that's cool that everybody's talking like that.

        
        

        Speaker A

        00:01:01.610 - 00:01:08.170

        Yeah, it was very cool. It's always nice to see how that kind of family tree overlaps. How did you get into music as a kid?

        
        

        Speaker B

        00:01:08.170 - 00:02:01.050

        My father. I mean, he's a musician down Beale Street. I mean, we're shoe repairmen by trade. Whatever.

        
        

        Even when I was little, he was always trying to get us to play music. And then when he got to teenage years, he wanted, you know, let's have a family band. I spent my 20s traveling around, being a punk rock hobo kid.

        
        

        All I wanted to do was write poetry or zines or, you know, just. I didn't want to play music. But he was like, I don't understand it. You learn a bass and learn three scales.

        
        

        You can play music, make money, and you can try, you know? Yeah, yeah, yeah. Oh, man. Okay, okay. And then it got to the point where one day I was like.

        
        

        It was like, I wanted to learn to paint, too, but I was like, I want to start a band. Just say I did kind of thing. And I don't know, we.

        
        

        I don't know if you've seen it on YouTube or not or heard about it, but we played the Fillmore last year, and I flew him out, and we brought him out on stage. It was literally all he ever talked about was playing The Fillmore when I was growing up. So I brought him out to play.

        
        

        And there's all kinds of influences. My mom listened to music and everything, but my dad live and breathe music. It has been a constant in my life.

        
        

        Speaker A

        00:02:01.210 - 00:02:04.570

        When you were doing the zines and stuff, what kind of punk rock was talking to you then?

        
        

        Speaker B

        00:02:04.650 - 00:02:32.580

        Oh, man, I was a dirty little Memphis Krusty type kid trying to Rorschach, Black Flag type stuff. Pop out with a local band, his heroes. Gone was a local band. It was life's Blood. It was, it was pretty crazy. Nothing really melodic.

        
        

        Let's just say it was pretty much my dad, you know, hate your country music type stuff.

        
        

        A lot of, you know, bands that have put out a seven inch, go on tour for two months, play the 10 people a night and come home and go back to college or get real jobs or.

        
        

        Speaker A

        00:02:33.140 - 00:02:37.780

        So then as you move towards finally saying, yeah, I'm gonna start my own band, where did]]>Summary

        From 2012: Brian Venable of Lucero drops in on Country Fried Rock to dish about the vibrant family vibe that permeates the music scene, especially with his band’s annual Family Picnic event. He dives deep into how this gathering isn’t just a concert; it’s a reunion of eclectic bands, each with their own unique sound yet tied together by a shared spirit of creativity and camaraderie. He reflects on his journey from a punk rock hobo kid to a seasoned musician, attributing much of his musical roots to his dad, who was a musician on Beale Street. As they chat, they explore the evolution of Lucero's sound, touching on their blend of rock and country, and how the addition of new members has sparked fresh creative energy. The conversation is a warm, entertaining dive into the heart of music-making, where experimentation meets tradition, and where every note is a step in a never-ending journey of artistic growth.

        Links

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

        
        

        • Lucero
        • Lucero on Bandcamp
        • You may also enjoy this conversation with Margo Price from 2012
        
        

        Show Notes

        In this episode of Country Fried Rock, we welcome Brian Venable of the beloved band Lucero for a warm, reflective, and deeply human conversation about music, roots, and the ties that bind creative souls together.

        Highlights from the conversation:

        • Musical roots run deep:
        • Brian shares how his dad’s hustle on Beale Street and deep musical background shaped his early exposure, even as Brian leaned more toward punk than blues.
        • Teenage rebellion with heart:
        • Hear about Brian’s early pushback against his father’s influence, his dive into punk zines and poetry, and how that spirit still fuels his creative life today.
        • Lucero’s evolution:
        • From garage beginnings to a band with a devoted community, Brian reflects on Lucero's growth and what it means to be more than just a group that plays songs.
        • A family picnic of bands:
        • Brian paints a vivid picture of the interconnected world of bands—those that may not always hit the charts but share history, stages, and mutual respect.
        • Genre is fluid:
        • Punk, country, and everything in between—Brian breaks down how Lucero's sound isn't boxed in, but shaped by emotion, experience, and experimentation.
        • On building creative community:
        • More than fame, Brian values the friendships and shared stages that form a kind of musical family tree, where influence flows freely across acts and time.
        • Candid and comforting:
        • A conversation filled with honesty, humor, and heart—perfect for anyone who’s ever wrestled with the push and pull of expectations versus passion.
        
        

        Listen in for a rich blend of storytelling, music history, and the kind of reflection that reminds us why we fall in love with bands like Lucero in the first place.

        Chapters

        • 00:09 - Introducing Brian Venable of Lucero
        • 01:06 - The Journey into Music
        • 04:48 - The Evolution of a Band
        • 12:07 - The Evolution of Live Performance and New Music Release
        • 19:40 - The Intersection of Music and Personal Choices
        
        

        Takeaways

        • The podcast dives deep into the creative process of Brian Venable from Lucero, exploring how his family influences shaped his passion for music, particularly his father's musical roots in Beale Street.
        • Brian shares his journey from a punk rock hobo to a band member, emphasizing the evolution of his musical style and the collaborative nature of songwriting in Lucero.
        • The discussion highlights the importance of community within the music scene, particularly through events like the Lucero Family Picnic, which fosters connections among various bands and artists.
        • Venable's reflections on the challenges and rewards of maintaining a long-lasting band lineup reveal insights into the music industry's dynamics and the evolution of musical identity over time.
        
        

        Mentioned in this Episode

        • Lucero
        • Glossary
        • Dramatic
        • Sub Pop
        • Revelation Records
        • Nuci's Space
        • Hearts of Palm
        
        

        Recommended If You Like

        Country Fried Rock, Lucero band interview, Brian Venable music, independent musicians, songwriting process, punk rock influences, Memphis music scene, Family Picnic festival, creative inspiration, band dynamics, touring experiences, music collaboration, rock and roll evolution, R&B and country fusion, music industry insights, mental health for musicians, Nucci's Space, music samplers, underground music scene, live music performance.

        Transcript

        Speaker A

        00:00:00.800 - 00:00:13.280

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Brian Venable of the band Lucero. Welcome, Brian.

        Speaker B

        00:00:13.280 - 00:00:14.000

        How you doing?

        
        

        Speaker A

        00:00:14.080 - 00:00:15.919

        Doing great. Thanks so much for being with us.

        
        

        Speaker B

        00:00:15.919 - 00:00:17.200

        Oh, man. Thank you for having me.

        
        

        Speaker A

        00:00:17.200 - 00:00:24.160

        Absolutely. I've always enjoyed your music. And I'll tell you when y' all came up again, interviewing some bands who played the Lucero Family Picnic.

        
        

        Speaker B

        00:00:24.320 - 00:00:25.200

        Which bands?

        
        

        Speaker A

        00:00:25.200 - 00:00:27.280

        Well, it started, I guess, with Glossary.

        
        

        Speaker B

        00:00:27.360 - 00:00:29.440

        Yeah, I thought he played Fellow steel with us.

        
        

        Speaker A

        00:00:29.440 - 00:00:34.700

        It was that connection, and then talking with some of the guys from Dramatic, and it was like this whole small family thing.

        
        

        Speaker B

        00:00:34.860 - 00:00:58.980

        We stopped doing it for a little bit, but we're bringing it back.

        
        

        But that's part of the reason why Family Picnic to me was so important, was there's this kind of weird little family of bands that tour constantly that don't sound the same, but are the same ilk. Maybe, for lack of a better word, I wanted a Sub Pop or Revelation Records or. I don't know, I thought it'd be cool to have a yearly get together.

        
        

        All the bands that tour a whole lot that aren't on the radar necessarily.

        
        

        Speaker A

        00:00:58.980 - 00:00:59.300

        Right.

        
        

        Speaker B

        00:00:59.300 - 00:01:01.450

        But that's cool that everybody's talking like that.

        
        

        Speaker A

        00:01:01.610 - 00:01:08.170

        Yeah, it was very cool. It's always nice to see how that kind of family tree overlaps. How did you get into music as a kid?

        
        

        Speaker B

        00:01:08.170 - 00:02:01.050

        My father. I mean, he's a musician down Beale Street. I mean, we're shoe repairmen by trade. Whatever.

        
        

        Even when I was little, he was always trying to get us to play music. And then when he got to teenage years, he wanted, you know, let's have a family band. I spent my 20s traveling around, being a punk rock hobo kid.

        
        

        All I wanted to do was write poetry or zines or, you know, just. I didn't want to play music. But he was like, I don't understand it. You learn a bass and learn three scales.

        
        

        You can play music, make money, and you can try, you know? Yeah, yeah, yeah. Oh, man. Okay, okay. And then it got to the point where one day I was like.

        
        

        It was like, I wanted to learn to paint, too, but I was like, I want to start a band. Just say I did kind of thing. And I don't know, we.

        
        

        I don't know if you've seen it on YouTube or not or heard about it, but we played the Fillmore last year, and I flew him out, and we brought him out on stage. It was literally all he ever talked about was playing The Fillmore when I was growing up. So I brought him out to play.

        
        

        And there's all kinds of influences. My mom listened to music and everything, but my dad live and breathe music. It has been a constant in my life.

        
        

        Speaker A

        00:02:01.210 - 00:02:04.570

        When you were doing the zines and stuff, what kind of punk rock was talking to you then?

        
        

        Speaker B

        00:02:04.650 - 00:02:32.580

        Oh, man, I was a dirty little Memphis Krusty type kid trying to Rorschach, Black Flag type stuff. Pop out with a local band, his heroes. Gone was a local band. It was life's Blood. It was, it was pretty crazy. Nothing really melodic.

        
        

        Let's just say it was pretty much my dad, you know, hate your country music type stuff.

        
        

        A lot of, you know, bands that have put out a seven inch, go on tour for two months, play the 10 people a night and come home and go back to college or get real jobs or.

        
        

        Speaker A

        00:02:33.140 - 00:02:37.780

        So then as you move towards finally saying, yeah, I'm gonna start my own band, where did that head for you at first?

        
        

        Speaker B

        00:02:37.940 - 00:04:04.820

        One of my best friends, Matt Bradley, who's in tears don't matter much is Matt Bradley with the broken teeth. He moved away and sold me his Basement 115 cabinet and basement head. And my dad gave me some broke down guitar that I still wish I had.

        
        

        Gil S70D, whatever. Looked like a battle ax. It was amazing. Yeah, two octave next guy and let Slobber Bone play one. Before I even started the band.

        
        

        I mean, I talked about it for a while, but there was that whole learn to play guitar hurdle. I would go down. This is before the Internet. I mean, it wasn't before the Internet. It was before we had the Internet.

        
        

        I would go down to the library and get all the song books of songs that I liked. Was like, okay, I like. And I would Xerox them 7 cents each. And I would go home and I wouldn't learn the songs, but I would learn the chords.

        
        

        Kind of taught me to change like, oh, C day or something. It was just. I still don't know any lyrics to anything really, you know. Luther was the only band I've ever played in.

        
        

        Started playing guitar to play in it. Then when I found Ben, I mean, that was the funny part was I was like, man, I got all these songs. He was like, cool, so do I.

        
        

        He came over to practice. He had three full songs with words. And I was just like, yeah, I was just like, I have this part that goes do do do do, you know? And that's about.

        
        

        That was the song kind of thing. And he stuck with me. But he would leave and I would get books back out like, or the videos, like pentatonic scale.

        
        

        In the old days, people would laugh and be like, your sense of space is so amazing. And it just realistically was. I don't know where to go next, so I'm just gonna hang here. And it kind of created a style.

        
        

        Hey, this is Brian Venable from Lucero. You're listening to Country Fried Rock.

        
        

        Speaker A

        00:04:04.980 - 00:04:07.700

        That whole music is the space between the notes and all of that.

        
        

        Speaker B

        00:04:07.780 - 00:04:47.839

        Yeah, well, I didn't. I was just like, oh, this sounds right. That's like Jim Dickinson would always laugh.

        
        

        He's like, I stay up night trying to figure out how you start a song. And man, it's interesting how he's playing in A major and you're playing in A minor.

        
        

        And at the time I had no idea there a distinction, you know, I mean, literally. My dad played music. He tried to teach me growing up. I fought it and that kind of stuff.

        
        

        He showed me some, you know, the big cowboy chords, kind of the big open ones. But learning to play with Ben, he had his own style of core. I've learned to play guitar to Ben Nichols. Chord structures, right or wrong.

        
        

        We were married forever, guitar wise. I wanted to start a band and then it was me and Ben and I just started finally roping people in and they'd play a show or two and then quit.

        
        

        Initially, Roy and John, we jailed.

        
        

        Speaker A

        00:04:48.400 - 00:04:58.000

        Like any band with a lot of players, there's been some change over time in terms of band lineup, but the core of you all have stuck together through a lot of other changes as well.

        
        

        Speaker B

        00:04:58.320 - 00:05:43.850

        I quit in 2003. That was me just my dad was sick, I was tired. I was, you know, I just didn't know when you start.

        
        

        That's the other coming from the punk rock, starting a band, you think it's us versus the world and you know we're gonna do this and there's no compromise.

        
        

        And when you really, what you're doing when you start a band is fun and four other lightly uneducated slackers and you're starting a small business and they're compromised and whatnot.

        
        

        So for one year I was out of it for a while, but then when I came back, I was like, oh, I wasn't doing anything else and I love doing this and whatever, but it's pretty awesome. I mean, you don't see a lot. You know, you got your U2s and your chili Peppers and whatever.

        
        

        Maybe Rolling Stones type bands, but a lot of bands, you don't see that there's not you know, the constantly Spinal Tap revolving drummer or bass player situation. So we've been real lucky as you.

        
        

        Speaker A

        00:05:43.850 - 00:05:47.170

        All are coming to anything new. What's the process for you as a group?

        
        

        Speaker B

        00:05:47.330 - 00:06:32.640

        Song structure. While I've been the lyricist, I think in the beginning you put all four of us in a room.

        
        

        We'll all argue about it, but you don't have all four of us, you have me. But in the beginning, Ben would show up with, I have these songs with words and music completed.

        
        

        And we would just flesh them out, write our parts and everything. So he was definitely the songwriter. No taking that away from him.

        
        

        But nowadays he'll show up with a riff or a piece of and like him and Roy will work out tempo and we start adding components to it. And for us it's been a 14 year, slow growing process.

        
        

        I think for the rest of the world, they've seen it in eight albums, so it might be a little bit more abrupt. When we played by ourselves forever, we knew what we could do.

        
        

        I'm going to play single notes, Ben's going to play chords, John's going to stay underneath it. Roy's going to do some interesting drum patting.

        
        

        Speaker A

        00:06:33.520 - 00:06:34.120

        There you go.

        
        

        Speaker B

        00:06:34.120 - 00:09:08.820

        Then we get Rick. When Rick started playing with us, it's all of a sudden you're just like, ooh, we can do boogie woogie, you know, or we can do Lighter Shade of Pale.

        
        

        We can do anything. It just started to get to where whatever we came up with, we were becoming more capable.

        
        

        Somebody in the band could do it and the rest of us could catch up, you know what I mean? And that's what the advent of the horns or the addition I had then, it's the same thing. It's like somebody.

        
        

        I was joking nowadays, somebody in Minneapolis on the Doorman told us, or we overheard it. I don't know how it came about, but somebody asked the doorman at First Avenue was like, who's playing tonight? He's like, how some met this R B band.

        
        

        We were just like, yeah, awesome. Yeah. That's one of those things where we didn't quite realize it. People like, oh, y' all aren't country enough. Or I miss the old sad country songs.

        
        

        And when we added the horns, I think we unintentionally and unwittingly maybe became or were trying to become an R B band, which is another Memphis thing. You can be country in army, you know, like, it's not so line drawn in the sand.

        
        

        But I think that's where trying to explain that, oh, we're a Country band with horns. We're just a rock and roll band, you know, which. The rock and roll lets you do anything. That's the freedom of rock and roll.

        
        

        Whereas if you were to say, hey, I'm a countryman, you wouldn't have perimeters you could not deviate from. Or if you're like, I am a soul band, but just slowly added people, the awareness has dawned on us that we're all getting better as musicians.

        
        

        I've been doing this 14 years. I can play guitar better now than I could in 1998. You know, you can't help but get better.

        
        

        And with the addition of these crazy musicians that are have joined us, it gets fun almost. You just start.

        
        

        You're practicing and you're laughing like, we still might do it, but we tried to cover Space Trucking by Deep Purple, and we couldn't quit laughing, so we never could finish the song. But not in a, like, bad laughing, but just like, this is so awesome.

        
        

        And just do, do, do, do do space trucking, you know, and you're just like, this is awesome. If we could actually do this, it'd be amazing. I picked the song but didn't get to play on it because the studio was so small.

        
        

        But when we covered the David Bowie Modern Love, half the reason you were like, man, we got the horns. We can do Modern Love, you know, and it's fun. But that's the thing.

        
        

        Like, Todd just played tambourine because he couldn't fit the pedal steel in there. I was like, man, half the time they tell us we're recording these things, they don't tell us that they're actually videoing them too.

        
        

        So I didn't realize they videoed it because I didn't go up there. But I went up there and was like, man, I don't have to cram in here. There's enough instrumentation that we can be Lucero and still record this.

        
        

        You know, we don't need two tambourine players. So, yeah, I got a lot of phone calls. Like, the day it came out, like, where are you? I was like, I didn't know they videoed it. Yeah, I was asleep.

        
        

        It was awesome. But being able to pick songs like that to where you can actually be like, we can do a horn song and have horns actually on it.

        
        

        Speaker A

        00:09:08.980 - 00:09:14.740

        By defining yourself as a rock and roll band, you have more options. I mean, nobody thinks twice about a gospel choir backing rock and roll.

        
        

        Speaker B

        00:09:14.740 - 00:09:57.300

        Yeah, well, I mean, the stones did it 40 to 50 years ago. You know what I mean?

        
        

        Like, it's it's getting to that point now where people want us to be what they want us to be, but in the end, you...]]>f9b27ec9-953b-47e5-8e8f-f9bce5ae33faFri, 30 Jan 2026 02:02:00 -040021:54truefull12321232Country Fried Rock 1230: Bonnie Whitmore Baking BasslinesSummary

        From 2012: Bonnie Whitmore spills the beans on her music journey, revealing how her parents essentially crafted a band with their kids as the stars. She hilariously recounts her early days, starting on the fiddle and swiftly moving to the bass, where she found her groove at just five years old. The real kicker? Bonnie reflects on the quirky interpretations of classic songs she learned from her dad, which led to a surprising moment of musical revelation when she discovered he’d been singing the Beatles wrong all along. With roots steeped in a rich tapestry of influences, from Chuck Berry to Willie Nelson, she dives into how these experiences shaped her sound and songwriting. As she gears up for a new album, Bonnie’s journey is a vibrant blend of humor, heart, and the undeniable magic of music, proving that sometimes the path to creativity is as winding as the tunes themselves.

        Links

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

        
        

        • Bonnie Whitmore
        • Bonnie Whitmore on Bandcamp
        • You may also enjoy this conversation with Brett Detar from 2012
        
        

        Show Notes

        Musical Roots and Family Bonds

        • Bonnie shares stories from her childhood growing up in a musical family

        • Talks about how her dad turned the family into a band and handed her a bass at a young age

        • Remembers learning songs that her dad slightly rewrote without realizing it

        • Laughs about discovering the "real" lyrics to classic tunes later on

        • Highlights early influences like Chuck Berry and The Beatles and how they shaped her musical lens

        The Power of Storytelling Through Song

        • Explains how storytelling became central to her approach as a performer and songwriter

        • Describes music as a way to connect generations and share lived experiences

        • Offers a window into the kind of songs that leave a lasting emotional impact

        Life in the Austin Music Scene

        • Reflects on her move to Austin and how the city helped her grow creatively

        • Describes the energy and support of the local music community

        • Talks about what makes Austin special for working musicians

        Real Talk on the Modern Music Industry

        • Gets honest about the challenges of touring, making a living, and staying afloat as an artist

        • Discusses how streaming has shifted the music economy and what that means for indie musicians

        • Emphasizes the need for community and mutual support among artists

        Creative Process and Looking Ahead

        • Shares how her songwriting continues to evolve with her personal journey

        • Teases future projects and new themes she’s excited to explore

        • Stresses the importance of staying open to growth and change as an artist

        Why This Episode Hits Home

        • Bonnie brings humor, warmth, and honesty to every story

        • Her experiences feel familiar, whether you're a musician or just someone who finds comfort in a great song

        • The episode is like catching up with a friend who’s seen a lot, learned even more, and still finds joy in it all

        Listen in for an authentic conversation with Bonnie Whitmore about music, memory, and what it really means to find your voice. Available wherever you get your podcasts.

        Chapters

        • 00:11 - The Musical Journey of Bonnie Whitmore
        • 03:59 - Discovering My Own Sound
        • 08:00 - The Journey to Nashville and Songwriting Evolution
        • 16:34 - The Challenges of Modern Music Industry
        • 23:06 - Baking Inspirations and New Ventures
        • 28:32 - The Variety Show Concept
        
        

        Takeaways

        • Bonnie Whitmore shares how her childhood was steeped in musical influences from her parents, shaping her artistic path.
        • She humorously reflects on her early experiences with music, noting her dad's unique yet incorrect interpretations of classic songs.
        • The podcast dives into her journey transitioning from family bands to discovering her own musical identity in high school.
        • Bonnie discusses the intricacies of songwriting and the collaborative process that enriches her music in Nashville.
        • She highlights the importance of community in music and her desire to create a variety show in Austin to foster connections.
        • Bonnie's upcoming project promises a more upbeat tone, showcasing her growth as an artist while retaining a conceptual focus.
        
        

        Mentioned in this Episode

        • Chuck Berry
        • Doc Watson
        • Willie Nelson
        • The Beatles
        • Traveling Wilburys
        • Tom Petty
        • Bonnie Raitt
        • Led Zeppelin
        • Rolling Stones
        • Muddy Waters
        • Burt Mitchell
        • Chris Masterson
        • Amanda Shires
        • T.J. McFarland
        • Rich Hinman
        • Hays Carl
        • Graham Weber
        • Chris Porter
        • Some Dark Holler
        • Pretty Pennies
        
        

        Recommended If You Like

        Country Fried Rock, Bonnie Whitmore podcast, musician interviews, creativity in music, songwriting inspiration, Texas singer songwriters, Nashville music scene, playing bass guitar, influences in music, Beatles music discussion, music production process, Empress Ashes album, music industry challenges, co-writing songs, live performance experiences, music and mental health, variety show concept, baking and music, music collaborations, indie music community

        Transcript

        Speaker A

        00:00:00.800 - 00:00:11.200

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered hey, song, It's Bonnie Whitmore.

        Speaker B

        00:00:11.360 - 00:00:38.570

        Here's the basic deal. I think that my parents really had children so they could have musicians.

        
        

        My dad needed a band, so he had two kids that he was gonna be like, all right, I'm grooming you to be the fiddle player. And you, you're the bass player.

        
        

        I was, like 5 years old when I started playing instruments, and they unfortunately tried to start me out on the fiddle, and that was a really terrible idea. I moved promptly over to the bass by the age of eight. Kind of went from there. I kept on the low end.

        
        

        I started to play cello after that and all that kind of stuff.

        
        

        Speaker A

        00:00:38.810 - 00:00:41.210

        What were you playing with your parents? What kind of songs?

        
        

        Speaker B

        00:00:41.450 - 00:01:52.750

        See, this is what I think is kind of funny. Mystic Situation is this. I felt like I grew up with my dad's interpretations of songs, the original version. So I was like, yes.

        
        

        I grew up with Chuck Berry and Doc Watson and Willie Nelson, Townsend Dance, the Beatles, all these different influences, but they were always through the interpretation of my dad's, however he wanted to do the song. I remember coming to him when I was, like, 12 years old, and I was, like, totally getting into the Beatles all of my, like, junior high.

        
        

        And they were like, oh, they're so freaking rad. And I put in sergeant hardcore band and start playing when I'm 64. And I'm like, dude, it's my dance song.

        
        

        The first thing occurs to me, and then I'm like, yeah, that's. Let me rephrase that. And I listen to it, and I'm like, oh, my God, My dad has been playing this song wrong all of my life. It is not Sarah, it's Vera.

        
        

        Totally messes up the second verse. So I came promptly home and be like, dad, you've been doing a Beatles song. You didn't tell me, and you've been singing it wrong.

        
        

        And, like, how to make him correct. But it was just sort of funny to have that kind of background music instead of, like, most people remember playing records.

        
        

        No, it was my dad playing guitar or my mom is in the other room singing opera. You know, that's the way we threw down in the Whitmore house.

        
        

        Speaker A

        00:01:52.910 - 00:01:57.950

        Were the Beatles the first band that you were able to discover on your own what the original sounded like?

        
        

        Speaker B

        00:01:58.110 - 00:02:49.250

        Well, it's hard to say if I really kind of think back. We didn't do very many road trips as kids. My dad's A pilot.

        
        

        And I know that makes me sound so like hoity toity, but we didn't drive the places we flew. And I don't know if you've had any experience with a small airplane, but listening to music while in a small airplane kind of hard.

        
        

        So there wasn't like road trip music going on.

        
        

        But I do recall like the few times that we would go down to Corpus Christi, we'd drive down there and this old beat up Ford truck, my dad's, we would listen to the Traveling Wilburies. And then we had Tom Petty and we had Bonnie Raitt.

        
        

        So even the music that I did hear, some of it was eclectic and you know, yeah, of course there was like top 40 country that would be on the radio station, but I don't really consider that, like that was just the station my dad tolerated, my mom tolerated the classical station. There was no other pop, whatever going on.

        
        

        Speaker...]]>Summary

        From 2012: Bonnie Whitmore spills the beans on her music journey, revealing how her parents essentially crafted a band with their kids as the stars. She hilariously recounts her early days, starting on the fiddle and swiftly moving to the bass, where she found her groove at just five years old. The real kicker? Bonnie reflects on the quirky interpretations of classic songs she learned from her dad, which led to a surprising moment of musical revelation when she discovered he’d been singing the Beatles wrong all along. With roots steeped in a rich tapestry of influences, from Chuck Berry to Willie Nelson, she dives into how these experiences shaped her sound and songwriting. As she gears up for a new album, Bonnie’s journey is a vibrant blend of humor, heart, and the undeniable magic of music, proving that sometimes the path to creativity is as winding as the tunes themselves.

        Links

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

        
        

        • Bonnie Whitmore
        • Bonnie Whitmore on Bandcamp
        • You may also enjoy this conversation with Brett Detar from 2012
        
        

        Show Notes

        Musical Roots and Family Bonds

        • Bonnie shares stories from her childhood growing up in a musical family

        • Talks about how her dad turned the family into a band and handed her a bass at a young age

        • Remembers learning songs that her dad slightly rewrote without realizing it

        • Laughs about discovering the "real" lyrics to classic tunes later on

        • Highlights early influences like Chuck Berry and The Beatles and how they shaped her musical lens

        The Power of Storytelling Through Song

        • Explains how storytelling became central to her approach as a performer and songwriter

        • Describes music as a way to connect generations and share lived experiences

        • Offers a window into the kind of songs that leave a lasting emotional impact

        Life in the Austin Music Scene

        • Reflects on her move to Austin and how the city helped her grow creatively

        • Describes the energy and support of the local music community

        • Talks about what makes Austin special for working musicians

        Real Talk on the Modern Music Industry

        • Gets honest about the challenges of touring, making a living, and staying afloat as an artist

        • Discusses how streaming has shifted the music economy and what that means for indie musicians

        • Emphasizes the need for community and mutual support among artists

        Creative Process and Looking Ahead

        • Shares how her songwriting continues to evolve with her personal journey

        • Teases future projects and new themes she’s excited to explore

        • Stresses the importance of staying open to growth and change as an artist

        Why This Episode Hits Home

        • Bonnie brings humor, warmth, and honesty to every story

        • Her experiences feel familiar, whether you're a musician or just someone who finds comfort in a great song

        • The episode is like catching up with a friend who’s seen a lot, learned even more, and still finds joy in it all

        Listen in for an authentic conversation with Bonnie Whitmore about music, memory, and what it really means to find your voice. Available wherever you get your podcasts.

        Chapters

        • 00:11 - The Musical Journey of Bonnie Whitmore
        • 03:59 - Discovering My Own Sound
        • 08:00 - The Journey to Nashville and Songwriting Evolution
        • 16:34 - The Challenges of Modern Music Industry
        • 23:06 - Baking Inspirations and New Ventures
        • 28:32 - The Variety Show Concept
        
        

        Takeaways

        • Bonnie Whitmore shares how her childhood was steeped in musical influences from her parents, shaping her artistic path.
        • She humorously reflects on her early experiences with music, noting her dad's unique yet incorrect interpretations of classic songs.
        • The podcast dives into her journey transitioning from family bands to discovering her own musical identity in high school.
        • Bonnie discusses the intricacies of songwriting and the collaborative process that enriches her music in Nashville.
        • She highlights the importance of community in music and her desire to create a variety show in Austin to foster connections.
        • Bonnie's upcoming project promises a more upbeat tone, showcasing her growth as an artist while retaining a conceptual focus.
        
        

        Mentioned in this Episode

        • Chuck Berry
        • Doc Watson
        • Willie Nelson
        • The Beatles
        • Traveling Wilburys
        • Tom Petty
        • Bonnie Raitt
        • Led Zeppelin
        • Rolling Stones
        • Muddy Waters
        • Burt Mitchell
        • Chris Masterson
        • Amanda Shires
        • T.J. McFarland
        • Rich Hinman
        • Hays Carl
        • Graham Weber
        • Chris Porter
        • Some Dark Holler
        • Pretty Pennies
        
        

        Recommended If You Like

        Country Fried Rock, Bonnie Whitmore podcast, musician interviews, creativity in music, songwriting inspiration, Texas singer songwriters, Nashville music scene, playing bass guitar, influences in music, Beatles music discussion, music production process, Empress Ashes album, music industry challenges, co-writing songs, live performance experiences, music and mental health, variety show concept, baking and music, music collaborations, indie music community

        Transcript

        Speaker A

        00:00:00.800 - 00:00:11.200

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered hey, song, It's Bonnie Whitmore.

        Speaker B

        00:00:11.360 - 00:00:38.570

        Here's the basic deal. I think that my parents really had children so they could have musicians.

        
        

        My dad needed a band, so he had two kids that he was gonna be like, all right, I'm grooming you to be the fiddle player. And you, you're the bass player.

        
        

        I was, like 5 years old when I started playing instruments, and they unfortunately tried to start me out on the fiddle, and that was a really terrible idea. I moved promptly over to the bass by the age of eight. Kind of went from there. I kept on the low end.

        
        

        I started to play cello after that and all that kind of stuff.

        
        

        Speaker A

        00:00:38.810 - 00:00:41.210

        What were you playing with your parents? What kind of songs?

        
        

        Speaker B

        00:00:41.450 - 00:01:52.750

        See, this is what I think is kind of funny. Mystic Situation is this. I felt like I grew up with my dad's interpretations of songs, the original version. So I was like, yes.

        
        

        I grew up with Chuck Berry and Doc Watson and Willie Nelson, Townsend Dance, the Beatles, all these different influences, but they were always through the interpretation of my dad's, however he wanted to do the song. I remember coming to him when I was, like, 12 years old, and I was, like, totally getting into the Beatles all of my, like, junior high.

        
        

        And they were like, oh, they're so freaking rad. And I put in sergeant hardcore band and start playing when I'm 64. And I'm like, dude, it's my dance song.

        
        

        The first thing occurs to me, and then I'm like, yeah, that's. Let me rephrase that. And I listen to it, and I'm like, oh, my God, My dad has been playing this song wrong all of my life. It is not Sarah, it's Vera.

        
        

        Totally messes up the second verse. So I came promptly home and be like, dad, you've been doing a Beatles song. You didn't tell me, and you've been singing it wrong.

        
        

        And, like, how to make him correct. But it was just sort of funny to have that kind of background music instead of, like, most people remember playing records.

        
        

        No, it was my dad playing guitar or my mom is in the other room singing opera. You know, that's the way we threw down in the Whitmore house.

        
        

        Speaker A

        00:01:52.910 - 00:01:57.950

        Were the Beatles the first band that you were able to discover on your own what the original sounded like?

        
        

        Speaker B

        00:01:58.110 - 00:02:49.250

        Well, it's hard to say if I really kind of think back. We didn't do very many road trips as kids. My dad's A pilot.

        
        

        And I know that makes me sound so like hoity toity, but we didn't drive the places we flew. And I don't know if you've had any experience with a small airplane, but listening to music while in a small airplane kind of hard.

        
        

        So there wasn't like road trip music going on.

        
        

        But I do recall like the few times that we would go down to Corpus Christi, we'd drive down there and this old beat up Ford truck, my dad's, we would listen to the Traveling Wilburies. And then we had Tom Petty and we had Bonnie Raitt.

        
        

        So even the music that I did hear, some of it was eclectic and you know, yeah, of course there was like top 40 country that would be on the radio station, but I don't really consider that, like that was just the station my dad tolerated, my mom tolerated the classical station. There was no other pop, whatever going on.

        
        

        Speaker A

        00:02:49.490 - 00:02:52.290

        When or what did you start finding that was just you?

        
        

        Speaker B

        00:02:52.370 - 00:03:56.250

        You know, I do think that like the Beatles was sort of my like first gold star find my own self. I was also influenced by my sister's tapes, which she had horrible taste. They like got me into erasure and see, where else did we go from there?

        
        

        Then eventually, you know, Led Zeppelin was found when I was like 14 years old. Slowly all over that and, you know, it kind of led into a whole bunch of other stuff.

        
        

        I mean, it took years to really get into like totally into the Rolling Stones. It took me forever to get to that point. I think I was like 24 when I decided, all right, I get it now. Yeah, I was so not a Rolling Stone fan.

        
        

        I think it was because Mick Jagger had bigger lips than me. I don't know, that's not really it.

        
        

        I guess once I got like the backstory and I really started getting into like the historical fact of like, you know, music, then you sort of can come to the Rolling Stones with the tone. Totally different aspect when you know that like Muddy Waters was the big influence, you know, and they were like, oh, okay, I get it.

        
        

        It was black music that you were like, wanted to play. As a white British guy, you were.

        
        

        Speaker A

        00:03:56.250 - 00:04:03.250

        Playing music that wasn't of your choosing for a really long time. At what point did you start playing stuff that was what you wanted to play?

        
        

        Speaker B

        00:04:03.650 - 00:05:28.000

        When I was 15 years old, my dad had this friend that he really loved his music, really believed in his songwriting and everything, and he was wanting to put together a band. And what better band than his daughter? I'm 15 years old and I get as this guy his name is Brent Mitchell, bass player.

        
        

        And so, like before everything was always playing songs with my dad. It's my dad's band and you know, especially as a 15 year old, he's kind of like, oh, so not cool. I was such a brat.

        
        

        And then like, here was this guy and I like totally dug his music. It was beautifully written songs. There was a whole lot of imagery in it.

        
        

        And, you know, especially for 15 year olds, you know, to like find something that actually does have meaning and like, it is pretty impressive to me. So I started playing with his band and then I just sort of. Then it became like. Not that I didn't love playing with my dad, mind you.

        
        

        Like, I don't want to get the wrong impression. He wasn't a slave driver or anything like that, but it was definitely like, it was something that I always did.

        
        

        It wasn't something that I came to and found and fell in love with. By starting to play music with other people outside of my family, I really got into, oh, maybe I do want to do music.

        
        

        Because I mean, up until that point I was destined to be a rising, like actress star. But yeah, no, I started playing in local bands in the Dallas wars area through my, like high school years and that really got me into it.

        
        

        And also by way of playing with the Burt Mitchell Band, I understood the crafting of songs and it made me want to do that.

        
        

        Speaker A

        00:05:28.240 - 00:05:29.120

        So when did that happen?

        
        

        Speaker B

        00:05:29.360 - 00:05:34.880

        I was 16 when I wrote my first song. I was 22 before I wrote one that I was proud of.

        
        

        Speaker A

        00:05:34.880 - 00:05:35.600

        Right, sure.

        
        

        Speaker B

        00:05:35.840 - 00:05:45.750

        It took me a while to like, really get into it and real, really feel comfortable in speaking and saying and telling the story the way that I wanted it. Hey, song. It's Bonnie Whitmore.

        
        

        Speaker A

        00:05:46.070 - 00:05:48.790

        So once you were doing your own thing, where did that take you?

        
        

        Speaker B

        00:05:48.870 - 00:07:27.960

        Well, I moved down to Austin. I lived down there for a number of years. I had a duo group with another girl by the name of Jamie Blythe, and we went by Bonnie and Blythe.

        
        

        We were really big in hill country, you know, that was especially that time period. I was really just excited because I was completely supporting myself on music. Didn't really go to college, you know, I can't really sing that story.

        
        

        I did not get along with school. We tried. It was like, dude, seriously, we're done. And I played with like bands down in Austin, Texas. I played with Susan Gibson.

        
        

        I played with Ray Willie Hubbard.

        
        

        Picked me up for a couple shows every once in a while or something like that, you know, I just got a chance to play with some great Texas singer songwriters. Got into putting together my own group, being Bonnie Moore instead of the bass player. And I did that for sell.

        
        

        And then I kind of got this weird bug in me that I was like, okay, I'm going to go and I'm going to travel. I'm going to do all these different things. Decided I needed to make a new change, so I moved to Nashville.

        
        

        I keep saying it was like five years ago, but I think it was more than five years ago now, you know, moved out there, and luckily for me, I had a guy that I was playing bass with and had moved up there, so I could at least get up there and start playing music right away. Instead, I have to really slosh around, get people to notice you. So the basement in Nashville, this is the best one.

        
        

        So, like, I was playing with this guy, Mondo Signs, who I love, absolutely love. And I'm playing the guy that owns a place, Mike Grimes, whatever. He's a bass player. And so it was like, it didn't matter if I was good or not.

        
        

        It was like, you were a good bass player. I will book you. And I was like, yes, awesome. This is the way I like doing things. I totally work Nashville from the back door, not the front door.

        
        

        Speaker A

        00:07:28.040 - 00:07:28.440

        Right.

        
        

        Speaker B

        00:07:28.840 - 00:07:57.560

        The record store and the venue combined. Those are two things you don't really find as often and as cool as they are, you know? Yeah. And really, it was the best sound.

        
        

        There were plenty of other places to play in Nashville, but none of them sounded as good. Kind of the draw. And it was because it was a small place, too. It's like you got 10 people in the audience and you were like, dude, I'm rocking out.

        
        

        This place is packed. Whereas when you get like 50 people but in a like 300 room, you're like, I am so lame.

        
        

        Speaker A

        00:07:59.210 - 00:08:00.810

        So how did Nashville evolve for you?

        
        

        Speaker B

        00:08:00.970 - 00:08:24.490

        Nashville taught me how to write a song, really write a song. And I got a chance to do some co writing.

        
        

        I did a couple of songs with Amanda Shires, co wrote with another guy from Oklahoma by the name of T.J. mcFarland. And, you know, just kind of really got into it.

        
        

        I say that this album that I put out, Empress Ashes, I'm extremely proud of that album for a lot of different ways, but they were all like, I'm really proud of each one of those songs.

        
        

        Speaker A

        00:08:25.390 - 00:08:31.550

        Did you do the whole co write situations or were these more organic in that you were friends with someone? You said, hey, let's write a song.

        
        

        Speaker B

        00:08:31.630 - 00:09:39.040

        Yeah, it was more like, hey, let's write A song. I mean, I did do a couple writing sessions with people, but we never really got that far. I mean, I did, like, sit down and I wrote a song with Mondo.

        
        

        I have yet to go back there and play it again. Sometimes I don't like the song or anything like that. It just. It just didn't come.

        
        

        Like, most of the time when I write with somebody, when it fits, it's just. It's so easy, and that doesn't always happen. Like, I've written a number of songs with Amanda Shires that we haven't released by any means.

        
        

        Or I like them, so I put them on my record. Those two songs that we got out of it. Like, the first one that we wrote was gto, which is on my record. And it's the fun song that we wrote.

        
        

        Completely hungover the next day, and it came out and there we go. We had the song. The next song we wrote together that we finished was Cowboy Lullaby. And that one we kind of had a couple.

        
        

        I had some writing, she had some writing. And we just sat down and we created this song and progression and all that kind of stuff. And it really worked for that song.

        
        

        Like, each song has its own individual personality, and you can't. At least I can't assume that I can write every song the same way.

        
        

        Speaker A

        00:09:39.280 - 00:10:03.820

        Several great musician friends of Country Fried Rock generously donated songs for a free music sampler.

        
        

        Download it at NoiseTrade.com CountryFridRock 19 songs to help raise awareness and money for Nucci Space, a nonprofit serving the mental health needs of musicians in the Athens, Georgia area. Find out more about new cheese@n u c I.org hey, this is Bonnie Whitmore.

        
        

        Speaker B

        00:10:03.820 - 00:10:05.980

        And you're listening to Country Fried Rock.

        
        

        Speaker A

        00:10:06.220 - 00:10:09.820

        What led to that looking like it was going to become a record?

        
        

        Speaker B

        00:10:10.460 -...]]>fe6fc32c-74dd-48c9-ab04-1adf10976766Fri, 30 Jan 2026 02:02:00 -040030:49truefull12301230Country Fried Rock 1229: Jimbo Mathus on Mississippi Punk to Mandolins to BluesSummary

        From 2012: Jimbo Mathus hops onto the Country Fried Rock stage, bringing a whirlwind of musical tales and soulful reflections that are as rich as a Mississippi mud pie. Right off the bat, he dives into the heart of creativity, revealing how his upbringing in the vibrant musical landscape of northeast Mississippi shaped his artistic journey. With a background steeped in family harmonies and raucous jam sessions fueled by cheap beer, Jimbo paints a picture of a life where music wasn’t just a hobby; it was the family business. He chats about his evolution from strumming mandolins as a kid to fronting one of Mississippi's first punk bands, showcasing a colorful tapestry of influences that range from blues legends to punk rock pioneers. As they meander through stories of juke joints, the beauty of original songwriting, and the importance of staying true to one’s roots, it becomes clear that Jimbo’s journey is not just a personal odyssey but a celebration of the Southern spirit and the transformative power of music.

        Show Notes

        Growing Up Mississippi Style

        • Jimbo Mathus paints a vivid picture of his childhood in Northeast Mississippi

        • Remembers chaotic and joyful family gatherings filled with music, cheap beer, and loud harmonies

        • Shares how early exposure to banjos, mandolins, and gospel traditions lit the spark for a lifetime of music

        Mandolins to Punk Rock

        • Talks about learning the mandolin as a kid and the musical encouragement he got at home

        • Reflects on forming one of Mississippi’s first punk bands, Johnny Vomit in the Dry Heat

        • Discusses the challenges of building a punk scene in small-town Mississippi in the 1980s

        Musical Identity and Evolution

        • Shares his journey from punk to embracing blues, Southern rock, and traditional roots music

        • Talks about the influence of Robert Johnson, Bill Monroe, and how those legends shaped his sound

        • Emphasizes the importance of originality and blending genres in his songwriting

        The Songwriting Craft

        • Describes songwriting as a lifelong craft shaped by personal history and family tradition

        • Highlights the role of Southern storytelling and creative persistence in his process

        • Reflects on how returning home to Mississippi has deepened his artistic connection to place and people

        Collaborations and Current Projects

        • Talks about working with blues legend Buddy Guy and what that experience meant to him

        • Gives a sneak peek into his upcoming album, White Buffalo, focused on cultural symbolism and storytelling

        • Explains how he approaches new projects with intention and a desire to stay authentic

        A Conversation That Feels Like Home

        • The episode flows like a casual hangout on the porch with a good friend

        • Filled with humor, insight, and heartfelt storytelling

        • Jimbo’s passion for music, roots, and community shines throughout

        Why You’ll Want to Listen

        • Get to know the man behind the music, from punk pioneer to roots revivalist

        • Discover how Jimbo blends rebellion with tradition to create something uniquely Southern

        • Hear stories that reflect the deeper meaning behind the songs and the culture that inspires them

        Tune in to hear Jimbo Mathus open up about the roads he’s traveled, the music he’s made, and the heart behind White Buffalo. Available wherever you get your podcasts.

        Links

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

        
        

        • Jimbo Mathus
        • Jimbo Mathus on Bandcamp
        • You may also enjoy this conversation with Tara Nevins of Donna the Buffalo from 2012
        
        

        Takeaways

        • Jimbo Mathus shares his nostalgic memories of growing up around music in Mississippi, highlighting the family gatherings that shaped his artistic spirit.
        • The podcast dives into how Jimbo transitioned from a punk rock scene to embracing traditional Southern music, blending both influences in his creative journey.
        • Listeners get a glimpse of Jimbo's philosophy on recording music, emphasizing the importance of capturing authentic performances without relying on modern tech fixes.
        • Jimbo discusses the profound connection between Southern literature and music, revealing how family history and storytelling play a crucial role in his songwriting process.
        • The conversation touches on the significance of the juke joint culture in the South as a unique space for musical expression and community bonding.
        • Jimbo talks about his upcoming album White Buffalo, inspired by a rare buffalo's death and its cultural symbolism, showcasing his commitment to authentic storytelling through music.
        
        

        Chapters

        • 00:09 - Introducing Jimbo Mathus
        • 00:59 - The Journey into Music and Identity
        • 14:10 - The Journey to Artistic Discovery
        • 20:59 - Returning to Roots: The Mississippi Connection
        • 27:54 - The Evolution of Musical Expression
        • 31:24 - The Significance of the White Buffalo
        
        

        Mentioned in this Episode

        • Country Fried Rock
        • Nuci's Space
        • Goner Records
        • Squirrel Nut Zippers
        • Big Legal Mess
        
        

        Recommended If You Like

        Country Fried Rock, Jimbo Mathus interview, Southern music inspiration, creativity in songwriting, Mississippi music scene, original music production, juke joint culture, blues music history, punk rock in Mississippi, Southern literary tradition, music and family heritage, Americana music podcast, Country Fried Rock podcast, mental health in music, Nuci's Space nonprofit, music production techniques, songwriting process, Southern culture and art, vinyl record production, creative collaboration in music, squirrel nut zippers

        Transcript

        Speaker A

        00:00:00.800 - 00:00:17.920

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

        My guest today on Country Fried Rock is Jimbo Mathis, who's been in the music scene for a while and continues to create and push his own limits. Morning, Jimbo. Thanks for being with us.

        
        

        Speaker B

        00:00:18.080 - 00:00:19.840

        Good morning. How are you?

        
        

        Speaker A

        00:00:19.840 - 00:00:23.920

        I am fantastic. It is bright and early for a musician. I thank you for being with us.

        
        

        Speaker B

        00:00:24.320 - 00:00:25.600

        I get up with the chicken.

        
        

        Speaker A

        00:00:26.240 - 00:00:27.280

        You got yardbirds?

        
        

        Speaker B

        00:00:27.610 - 00:00:29.050

        Yes, ma'. Am. You know it.

        
        

        Speaker A

        00:00:29.290 - 00:00:31.690

        Are they pretty ones or country ones?

        
        

        Speaker B

        00:00:31.770 - 00:00:37.690

        They are country ones. They're a little raggly. They gotta fight for their right to stay alive around here. Good talking with you.

        
        

        Speaker A

        00:00:37.770 - 00:00:46.570

        Absolutely. You too. You too. Well, this has been a treat because your name has been brought up repeatedly throughout our show, but really more for your producing.

        
        

        Speaker B

        00:00:46.810 - 00:00:54.650

        Right? I'm so glad.

        
        

        Yeah, I did a lot of producing over the past five years, you know, helping other artists out and helping them get their sound like they needed it.

        
        

        Speaker A

        00:00:54.960 - 00:01:06.880

        As I started to do a little bit of research, I realized we could talk about all different kinds of things. So let's set the stage a little bit for how you first started getting into music, like, as a little kid. What were you into?

        
        

        Speaker B

        00:01:07.280 - 00:02:02.000

        Yeah, well, I grew up with music in the house, you know, with my father, my uncles, my cousins. This is. I'm talking about northeast Mississippi, in the hill country of Mississippi during the 70s and 80s. So, yeah, we had banjos, mandolins.

        
        

        I first got attached to the mandolin when I was about six and I started learning the rudiments, you know, all instruments. We had a lot of harmony singing.

        
        

        And music was just a part of our house and it was a part of our weekends, you know, and just what the family did, it's some of the most fond memories, you know, you can have, really. Just watching grownups get tanked on cheap beer and, like, singing like angels, you know, it's great when you're six years old.

        
        

        And they always encouraged me.

        
        

        And so that's how I got into it was really more from just the joy and the family aspect of it and then before, you know, ever realizing there was a business part of it.

        
        

        Speaker A

        00:02:02.000 - 00:02:07.080

        Sure. Well, at what point did that expand for you beyond just what you were doing with your family?

        
        

        Speaker B

        00:02:08.440 - 00:02:25.840

        High school, you know, I started branching out and wanted. I got an electric guitar and an amplifier and, you know, and wanted to rock. This is...]]>Summary

        From 2012: Jimbo Mathus hops onto the Country Fried Rock stage, bringing a whirlwind of musical tales and soulful reflections that are as rich as a Mississippi mud pie. Right off the bat, he dives into the heart of creativity, revealing how his upbringing in the vibrant musical landscape of northeast Mississippi shaped his artistic journey. With a background steeped in family harmonies and raucous jam sessions fueled by cheap beer, Jimbo paints a picture of a life where music wasn’t just a hobby; it was the family business. He chats about his evolution from strumming mandolins as a kid to fronting one of Mississippi's first punk bands, showcasing a colorful tapestry of influences that range from blues legends to punk rock pioneers. As they meander through stories of juke joints, the beauty of original songwriting, and the importance of staying true to one’s roots, it becomes clear that Jimbo’s journey is not just a personal odyssey but a celebration of the Southern spirit and the transformative power of music.

        Show Notes

        Growing Up Mississippi Style

        • Jimbo Mathus paints a vivid picture of his childhood in Northeast Mississippi

        • Remembers chaotic and joyful family gatherings filled with music, cheap beer, and loud harmonies

        • Shares how early exposure to banjos, mandolins, and gospel traditions lit the spark for a lifetime of music

        Mandolins to Punk Rock

        • Talks about learning the mandolin as a kid and the musical encouragement he got at home

        • Reflects on forming one of Mississippi’s first punk bands, Johnny Vomit in the Dry Heat

        • Discusses the challenges of building a punk scene in small-town Mississippi in the 1980s

        Musical Identity and Evolution

        • Shares his journey from punk to embracing blues, Southern rock, and traditional roots music

        • Talks about the influence of Robert Johnson, Bill Monroe, and how those legends shaped his sound

        • Emphasizes the importance of originality and blending genres in his songwriting

        The Songwriting Craft

        • Describes songwriting as a lifelong craft shaped by personal history and family tradition

        • Highlights the role of Southern storytelling and creative persistence in his process

        • Reflects on how returning home to Mississippi has deepened his artistic connection to place and people

        Collaborations and Current Projects

        • Talks about working with blues legend Buddy Guy and what that experience meant to him

        • Gives a sneak peek into his upcoming album, White Buffalo, focused on cultural symbolism and storytelling

        • Explains how he approaches new projects with intention and a desire to stay authentic

        A Conversation That Feels Like Home

        • The episode flows like a casual hangout on the porch with a good friend

        • Filled with humor, insight, and heartfelt storytelling

        • Jimbo’s passion for music, roots, and community shines throughout

        Why You’ll Want to Listen

        • Get to know the man behind the music, from punk pioneer to roots revivalist

        • Discover how Jimbo blends rebellion with tradition to create something uniquely Southern

        • Hear stories that reflect the deeper meaning behind the songs and the culture that inspires them

        Tune in to hear Jimbo Mathus open up about the roads he’s traveled, the music he’s made, and the heart behind White Buffalo. Available wherever you get your podcasts.

        Links

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

        
        

        • Jimbo Mathus
        • Jimbo Mathus on Bandcamp
        • You may also enjoy this conversation with Tara Nevins of Donna the Buffalo from 2012
        
        

        Takeaways

        • Jimbo Mathus shares his nostalgic memories of growing up around music in Mississippi, highlighting the family gatherings that shaped his artistic spirit.
        • The podcast dives into how Jimbo transitioned from a punk rock scene to embracing traditional Southern music, blending both influences in his creative journey.
        • Listeners get a glimpse of Jimbo's philosophy on recording music, emphasizing the importance of capturing authentic performances without relying on modern tech fixes.
        • Jimbo discusses the profound connection between Southern literature and music, revealing how family history and storytelling play a crucial role in his songwriting process.
        • The conversation touches on the significance of the juke joint culture in the South as a unique space for musical expression and community bonding.
        • Jimbo talks about his upcoming album White Buffalo, inspired by a rare buffalo's death and its cultural symbolism, showcasing his commitment to authentic storytelling through music.
        
        

        Chapters

        • 00:09 - Introducing Jimbo Mathus
        • 00:59 - The Journey into Music and Identity
        • 14:10 - The Journey to Artistic Discovery
        • 20:59 - Returning to Roots: The Mississippi Connection
        • 27:54 - The Evolution of Musical Expression
        • 31:24 - The Significance of the White Buffalo
        
        

        Mentioned in this Episode

        • Country Fried Rock
        • Nuci's Space
        • Goner Records
        • Squirrel Nut Zippers
        • Big Legal Mess
        
        

        Recommended If You Like

        Country Fried Rock, Jimbo Mathus interview, Southern music inspiration, creativity in songwriting, Mississippi music scene, original music production, juke joint culture, blues music history, punk rock in Mississippi, Southern literary tradition, music and family heritage, Americana music podcast, Country Fried Rock podcast, mental health in music, Nuci's Space nonprofit, music production techniques, songwriting process, Southern culture and art, vinyl record production, creative collaboration in music, squirrel nut zippers

        Transcript

        Speaker A

        00:00:00.800 - 00:00:17.920

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

        My guest today on Country Fried Rock is Jimbo Mathis, who's been in the music scene for a while and continues to create and push his own limits. Morning, Jimbo. Thanks for being with us.

        
        

        Speaker B

        00:00:18.080 - 00:00:19.840

        Good morning. How are you?

        
        

        Speaker A

        00:00:19.840 - 00:00:23.920

        I am fantastic. It is bright and early for a musician. I thank you for being with us.

        
        

        Speaker B

        00:00:24.320 - 00:00:25.600

        I get up with the chicken.

        
        

        Speaker A

        00:00:26.240 - 00:00:27.280

        You got yardbirds?

        
        

        Speaker B

        00:00:27.610 - 00:00:29.050

        Yes, ma'. Am. You know it.

        
        

        Speaker A

        00:00:29.290 - 00:00:31.690

        Are they pretty ones or country ones?

        
        

        Speaker B

        00:00:31.770 - 00:00:37.690

        They are country ones. They're a little raggly. They gotta fight for their right to stay alive around here. Good talking with you.

        
        

        Speaker A

        00:00:37.770 - 00:00:46.570

        Absolutely. You too. You too. Well, this has been a treat because your name has been brought up repeatedly throughout our show, but really more for your producing.

        
        

        Speaker B

        00:00:46.810 - 00:00:54.650

        Right? I'm so glad.

        
        

        Yeah, I did a lot of producing over the past five years, you know, helping other artists out and helping them get their sound like they needed it.

        
        

        Speaker A

        00:00:54.960 - 00:01:06.880

        As I started to do a little bit of research, I realized we could talk about all different kinds of things. So let's set the stage a little bit for how you first started getting into music, like, as a little kid. What were you into?

        
        

        Speaker B

        00:01:07.280 - 00:02:02.000

        Yeah, well, I grew up with music in the house, you know, with my father, my uncles, my cousins. This is. I'm talking about northeast Mississippi, in the hill country of Mississippi during the 70s and 80s. So, yeah, we had banjos, mandolins.

        
        

        I first got attached to the mandolin when I was about six and I started learning the rudiments, you know, all instruments. We had a lot of harmony singing.

        
        

        And music was just a part of our house and it was a part of our weekends, you know, and just what the family did, it's some of the most fond memories, you know, you can have, really. Just watching grownups get tanked on cheap beer and, like, singing like angels, you know, it's great when you're six years old.

        
        

        And they always encouraged me.

        
        

        And so that's how I got into it was really more from just the joy and the family aspect of it and then before, you know, ever realizing there was a business part of it.

        
        

        Speaker A

        00:02:02.000 - 00:02:07.080

        Sure. Well, at what point did that expand for you beyond just what you were doing with your family?

        
        

        Speaker B

        00:02:08.440 - 00:02:25.840

        High school, you know, I started branching out and wanted. I got an electric guitar and an amplifier and, you know, and wanted to rock. This is in Corinth, Mississippi.

        
        

        So actually, I had one of the very first punk rock bands in the state of Mississippi, you know, in the early 80s, called Johnny Vomit in the Dry Heat.

        
        

        Speaker A

        00:02:26.160 - 00:02:26.880

        Great name.

        
        

        Speaker B

        00:02:26.880 - 00:02:36.880

        And we had some 45, you know, that you can find out there that are on goner records. That would be my first recorded evidence would be Johnny Vomit in the Dry Heaves.

        
        

        Speaker A

        00:02:37.040 - 00:02:39.280

        And so what sort of punk were you all?

        
        

        Speaker B

        00:02:39.520 - 00:03:23.200

        We were backwoods Mississippi punk. We basically had to make up our own scene. I think we saw rock and Roll High School on, you know, HBO when we finally got cable in the 80s.

        
        

        And that's when we realized that there was a thing called punk rock. We jumped in head first when we were teenagers.

        
        

        But then I really just always kind of latched on to original things, things that were different, things that were original, as well as embracing like the traditional stuff. I still do the same. You know, the traditional stuff is like my bible. And the new and the different that just comes from being a songwriter.

        
        

        And I've pushed to always have my own compositions. That's what I'm usually playing, you know, for the public.

        
        

        Speaker A

        00:03:24.080 - 00:03:49.250

        Several great musician friends of Country Fried Rock generously donated songs for a free music sampler.

        
        

        Download it at noise trade.com countryfriedrock 19 songs to help raise awareness and money for Nucci's Space, a nonprofit serving the mental health needs of musicians in the Athens, Georgia area. Find out more about Nucci's at n u c I.org from right away you were writing your own stuff?

        
        

        Speaker B

        00:03:49.410 - 00:04:04.290

        Yes, ma'. Am. I got started writing my own stuff right away after high school.

        
        

        I continued to do that and just something finally just clicked in my late teens and early twenties where I was able to just start writing on my own stuff. And I've done that ever since.

        
        

        Speaker A

        00:04:04.530 - 00:04:06.450

        Is that something that just flows for you?

        
        

        Speaker B

        00:04:06.770 - 00:04:53.670

        It does now. I just look at. It was this like a habit thing, you know, I mean, I had encouragement in music and I had encouragement in my family.

        
        

        All through the generations are known as writers and musicians and different kind of eccentrics. So I've got a. They're also real smart. And so, I mean, just crazy smart people that scare you, you know. So I've got this kind of weird streak.

        
        

        So I practiced doing it. I just. It kind of came out of me then over the years after doing it so long.

        
        

        Now it's just a habit thing, you know, I can do it pretty easily as far as the composing, writing, latching onto ideas and kind of elaborating on them. It's like carpentry or something to make it, you know, it's. Or working on a carburetor. It's just habit and it's Pretty easy.

        
        

        Speaker A

        00:04:53.910 - 00:04:56.950

        Does that tie into like a Southern literary tradition for you?

        
        

        Speaker B

        00:04:57.110 - 00:05:20.230

        It really did. Big time. Big time. I've got authors in my family. Well, all of my family is based in Mississippi in the Deep South.

        
        

        You know, I mean, that's three generations. As soon as they were settling in Mississippi, we were here. Yeah.

        
        

        It really does tie in memoirs, kind of eccentric uncles and cousins who did memoirs, who did essays, poetry and this kind of thing.

        
        

        Speaker A

        00:05:20.630 - 00:05:22.630

        When did you discover some of those writings?

        
        

        Speaker B

        00:05:23.110 - 00:06:14.680

        I discovered all this stuff as a child.

        
        

        You know, I was always into genealogy of the family, and I was always into digging around in the great grandmother's boxes and finding postcards and stuff, you know, asking questions about these things. You know, I started taking notes on the family genealogy, you know, when I was just, you know, I have.

        
        

        I have notebooks that I kept and going through the family Bibles and stuff. So it's a. It is a Southern literary mindset very much.

        
        

        And that's tied into our history as well into our music, you know, as far as the musical side, you know, my father was real stickler and a great memory for lyrics, you know, and he would know all the verses to everything. And he's just got this incredible photographic memory for. For song lyric.

        
        

        And so I was brought up with all the proper lyrics, 22 verses for John Henry.

        
        

        Speaker A

        00:06:14.760 - 00:06:15.240

        Wow.

        
        

        Speaker B

        00:06:15.800 - 00:06:24.080

        You know, or whatever. There's a certain number that we knew. And it's like. Like I said, it's like the canon of the Bible. You learn it and then you know.

        
        

        Speaker A

        00:06:24.080 - 00:06:33.000

        It with the literary influence and then combined with the history and tradition of the musical history of the Deep South. Where did it lead for you?

        
        

        Speaker B

        00:06:33.160 - 00:07:35.460

        Oh, well, I mean, it just, you know, that's just being a kid with a lot of testosterone, you know, and been zits, you know. So I mean, I just kept really at this. I just kept on the same path, really.

        
        

        I know it seems sort of chaotic if you look through my catalog, but the whole time I was studying Bill Monroe, I was learning how to play Robert Johnson, I was learning how to play Charlie Patton.

        
        

        There's things that I didn't grow up with that I continually, as I got older and was able to say, go to record stores and find a Elmore James record or find a Louis Armstrong record or something, and just pretty coincidence, and started getting out into the bigger world and being able to travel to Atlanta and in other areas and see more of the world and go to, you know, Chapel Hill and look through the music stores and hear the college stations. I was. Grew up in a Very rural. I mean, we were. It could have been the 1950s in my town.

        
        

        So there were no computers there, you know, very little access to anything. I had the same teachers in high school that my dad had had.

        
        

        Speaker A

        00:07:35.800 - 00:07:36.040

        Right.

        
        

        Speaker B

        00:07:36.680 - 00:08:17.100

        And they confused us, you know, they were, like, senile. You know, this was. There was like Lone Ranger was on tv, you know. So I got out and began to travel on my own.

        
        

        And I was very curious about the art scene in the world, the music scene. And I just kept putting it to two and two together.

        
        

        Kept realizing as time went on how everything really tied back into Mississippi anyway, for me, through Faulkner, through the blues, through the history of slavery, Civil War history, and everything that's tied in just kept pointing me back as I looked further and further around and kind of saw what America was all about. I just really kept on a pretty steady path through reading and through the music.

        
        

        Speaker A

        00:08:17.580 - 00:08:20.060

        And literally, I mean, because you ended up back there.

        
        

        Speaker B

        00:08:20.220 - 00:08:32.150

        Correct. Correct. Hey, everybody, you're listening to Jimbo Mathis here on Country Fried Rock.

        
        

        And be sure and look me up on JimboMathis.com J I M B O M A T H U S what.

        
        

        Speaker A

        00:08:32.150 - 00:08:35.030

        Was continuing to push you creatively with.

        
        

        Speaker B

        00:08:35.030 - 00:09:40.560

        That, that point in time? Just discovery, you know, finding out all these other things about art, theater, music and in the Chapel Hill scene.

        
        

        See, I relocated myself up there in the late 80s, and I was drawn to groups that were. I thought, were unique. Like, well, REM I know they had a very literary bent, studiousness in his lyrics.

        
        

        But also groups like Southern Culture on the Skids, who were like, really celebrating, hey, we're Big Old Red, you know, and groups like Flat Duo Jet and who were very roots oriented, would do things like Benny Goodman music, you know, and they kind of made it. They fit it all into a rockabilly, you know, Southern thing.

        
        

        I got encouragement for that and I was like, aha, here's a Southern new generation of people that are putting something together. And this is where I'm heading, you know, and this is my mindset.

        
        

        So I really identified with that in Chapel Hill and then the Athens scene and the people kind of looking back and doing cool stuff and knew what they were doing. So I think that attracted me to that area and that really got me started with the Squirrel Nut Zippers.

        
        

        Speaker A

        00:09:41.360 - 00:09:48.480

        You mentioned briefly about record stores in the role that they played, especially at that time in music discovery.

        
        

        Speaker B

        00:09:48.480 - 00:09:48.840

        Yes.

        
        

        Speaker A

        00:09:48.840 - 00:09:53.520

        Was there a bootleg that really got you or just something that was new to you that was like your Aha.

        
        

        Speaker B

        00:09:53.520 - 00:11:12.590

        Album, You know, I would have to say it would be REM like when I was in high school, I saw them on...]]>55d236d5-acbe-4e96-bbe4-9bc63ce7b3beFri, 23 Jan 2026 02:02:00 -040035:24truefull12291229Country Fried Rock 1228: Drew Beskin of the District Attorneys on Athens Music Scene Collaboration and CreativitySummary

        From 2012: Drew Beskin of the District Attorneys kicks it off with a deep dive into the creative process behind their latest album, Slowburner, revealing the raw inspiration that fuels his songwriting. He shares how the music scene in Athens has shaped their sound, blending personal anecdotes with the energetic vibes of the band’s journey. From reminiscing about jam sessions in high school to the thrill of crafting melodies that stick like gum to your shoe, Drew's passion for music is palpable. He offers a glimpse into the studio dynamics, where experimentation and camaraderie spark unexpected twists in their tracks, showcasing their evolution as artists. Listeners are in for a treat as they explore not just the tunes, but the heart and hustle behind the art that keeps them rolling.

        Links

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

        
        

        • The District Attorneys on Bandcamp
        • You may also enjoy this conversation with Southeast Engine from earlier in 2012
        
        

        Show Notes

        • From Drumsticks to Frontman:
        • Drew Beskin shares how his early musical dreams began behind a drum kit, inspired by Levon Helm of The Band.
        • He reflects on how those roots shaped his approach to rhythm and storytelling in songwriting.
        • Roadtrip Soundtrack & Musical Memory:
        • Drew opens up about the songs that stuck with him during long drives between Indiana and Atlanta.
        • Music as both a personal escape and emotional companion during pivotal life transitions.
        • Songwriting as Muscle:
        • Drew breaks down his belief that creativity is something you have to train and work at consistently.
        • He discusses the shift from playing covers to crafting deeply personal original songs.
        • Insights into his process: how persistence and reinvention keep the spark alive.
        • The Evolution of District Attorneys:
        • Behind-the-scenes look at the making of Slow Burner—what the album means to Drew and the band.
        • Themes, tone, and the creative decisions that shaped the record.
        • Live Energy & Band Chemistry:
        • A candid discussion about the dynamics of performing live with District Attorneys.
        • How their connection on stage translates into electric performances packed with both fresh material and fan favorites.
        • The band’s philosophy on building a setlist that leaves it all on the stage.
        • Why You’ll Want to See Them Live:
        • Drew emphasizes creating unforgettable moments in every show.
        • A glimpse into what fans can expect from upcoming gigs and what’s next for the band.
        
        

        Listen now to catch the full conversation and experience the heart behind Slowburner. Whether you're a longtime fan or new to District Attorneys, this episode delivers an honest, heartfelt look at music, creativity, and the power of collaboration.

        Available wherever you get your podcasts.

        Chapters

        • 00:00 - Introduction to Country Fried Rock
        • 01:09 - The Journey of a Musician
        • 07:09 - The Formation of the Band
        • 14:51 - The Journey of Creating Slowburner
        • 20:52 - The Live Performance Experience
        • 27:03 - Preparing for the Next Record
        
        

        Takeaways

        • Drew Beskin passionately shares about his creative process and the inspiration behind the District Attorneys' music, showcasing how personal experiences shape artistic expression.
        • The conversation dives into the significance of live performances and how they influence the songwriting process, highlighting the vibrant Athens music scene.
        • Listeners gain insight into the band's approach to recording their album, Slowburner, and the collective effort that went into crafting each track with care and creativity.
        • The dynamic between band members is explored, emphasizing the importance of friendship and collaboration in both songwriting and live performances.
        • Drew reflects on the evolution of his musical journey, from aspiring drummer to frontman, illustrating the growth that comes with time and experience in the industry.
        • The episode wraps up with a nod to the fun and camaraderie within the band, as they discuss their favorite venues and the joy of sharing music with audiences.
        
        

        Mentioned in this Episode

        • District Attorneys
        • Slowburner
        • Rilo Kiley
        • Whiskeytown
        • Indiana University
        • Gillian Welch
        • Future Birds
        • Uncut
        • Rolling Stone
        • Paste
        • Guitar World
        • Centromatic
        • Georgia Theater
        • Masquerade
        • Pianos
        • Hole in the Wall
        • Gus's Fried Chicken
        • Nuci's Space
        
        

        Recommended If You Like

        country fried rock, Drew Beskin, District Attorneys, Slowburner album, indie music podcast, songwriting inspiration, Athens music scene, live music performances, music collaboration, recording process, music interviews, creative songwriting, indie rock bands, band dynamics, music production, acoustic performances, music influences, EP releases, musician mental health, music festivals, slow burner

        Transcript

        Speaker A

        00:00:00.800 - 00:00:13.840

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried rock music uncovered. My guest today on Country Fried Rock is Drew Beskin of the District Attorneys. Hey, Drew.

        Speaker B

        00:00:13.840 - 00:00:14.760

        Hey. How you doing?

        
        

        Speaker A

        00:00:14.760 - 00:00:16.640

        I'm great. Thanks so much for being with us.

        
        

        Speaker B

        00:00:16.640 - 00:00:18.480

        Oh, of course. Really excited.

        
        

        Speaker A

        00:00:18.480 - 00:00:28.720

        Your record, Slow Burner is one of those. I got it and I put it in and I went, I'm never taking this out of my car. That does not happen very often.

        
        

        So I literally was like, yes, I get to talk to them.

        
        

        Speaker B

        00:00:29.400 - 00:00:59.080

        That's awesome. That's awesome. That's my favorite thing too. When I get a record, I know, like, for me, it's more like one song.

        
        

        I usually, like, stay fixated on one song for, I don't know, for days or weeks on end. Like, I think when I heard Rilo Kiley's Silver Lining, really this is. This is. This is what I'm gonna listen to for three weeks.

        
        

        I went to school in Indiana and I would drive from Atlanta to Indiana for eight hours. I'm pretty sure.

        
        

        I think on one of the trips, I think I did that for Silver Lining and I think one of the trips I did that for Houses on the Hill by Whiskeytown.

        
        

        Speaker A

        00:00:59.080 - 00:00:59.480

        Yeah.

        
        

        Speaker B

        00:00:59.480 - 00:01:04.260

        The first time I heard it, I was like, well, this two minute song is gonna on repeat for eight hours.

        
        

        Speaker A

        00:01:04.820 - 00:01:06.220

        Where'd you go to school in Indiana?

        
        

        Speaker B

        00:01:06.220 - 00:01:07.780

        I went to Indiana University.

        
        

        Speaker A

        00:01:09.300 - 00:01:14.500

        We are gonna jump way, way back. How did you originally get started playing music?

        
        

        Speaker B

        00:01:14.740 - 00:03:27.100

        I guess I've always liked watching live performances on television. I kind of. I always. I wanted to be a drummer. I wanted to be a drummer who like, sang like Levon Helm, who grew up watching Last Waltz.

        
        

        And I just thought it was one of the coolest things to do, like, take one like D. When I think of singing, I think.

        
        

        I think more of like if I close my eyes and someone said singing, I would imagine like a woman singing, I would find that as very feminine and obviously like a tribal be like just drumming. If I close my eyes and someone said percussion, I would think, man, see, like singing and drums together, I like that kind of perfect combination.

        
        

        That's how I felt at least, because I got a drum set, wasn't very good at it. And I'm still not that great at it. I'm getting a little better, but. And also made so much noise that my parents always made me stop.

        
        

        So I ended up playing a guitar. And after, you know, learning a few songs, I kind of wanted to.

        
        

        The main goal is, you know, just to more so impress myself than anything else and just try and go complete a thought and write a thing and like, create something that didn't exist before. You know, Bob Dylan once said, like, I just want. He wrote because he wanted to find a song that he could sing to match his voice.

        
        

        And then Keith Richards. I grew up reading a lot of magazines and I remember certain quotes one another.

        
        

        But Keith Richards said, like, no, we're all just kind of contributing to the one great big song. And I always thought that was interesting. So ever since, I'm probably like 15 or 16 and like, you have to be writing something.

        
        

        If you're not writing, if you haven't written a song in the next three weeks or something, then you're just a loser. You need to hurry up...]]>Summary

        From 2012: Drew Beskin of the District Attorneys kicks it off with a deep dive into the creative process behind their latest album, Slowburner, revealing the raw inspiration that fuels his songwriting. He shares how the music scene in Athens has shaped their sound, blending personal anecdotes with the energetic vibes of the band’s journey. From reminiscing about jam sessions in high school to the thrill of crafting melodies that stick like gum to your shoe, Drew's passion for music is palpable. He offers a glimpse into the studio dynamics, where experimentation and camaraderie spark unexpected twists in their tracks, showcasing their evolution as artists. Listeners are in for a treat as they explore not just the tunes, but the heart and hustle behind the art that keeps them rolling.

        Links

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

        
        

        • The District Attorneys on Bandcamp
        • You may also enjoy this conversation with Southeast Engine from earlier in 2012
        
        

        Show Notes

        • From Drumsticks to Frontman:
        • Drew Beskin shares how his early musical dreams began behind a drum kit, inspired by Levon Helm of The Band.
        • He reflects on how those roots shaped his approach to rhythm and storytelling in songwriting.
        • Roadtrip Soundtrack & Musical Memory:
        • Drew opens up about the songs that stuck with him during long drives between Indiana and Atlanta.
        • Music as both a personal escape and emotional companion during pivotal life transitions.
        • Songwriting as Muscle:
        • Drew breaks down his belief that creativity is something you have to train and work at consistently.
        • He discusses the shift from playing covers to crafting deeply personal original songs.
        • Insights into his process: how persistence and reinvention keep the spark alive.
        • The Evolution of District Attorneys:
        • Behind-the-scenes look at the making of Slow Burner—what the album means to Drew and the band.
        • Themes, tone, and the creative decisions that shaped the record.
        • Live Energy & Band Chemistry:
        • A candid discussion about the dynamics of performing live with District Attorneys.
        • How their connection on stage translates into electric performances packed with both fresh material and fan favorites.
        • The band’s philosophy on building a setlist that leaves it all on the stage.
        • Why You’ll Want to See Them Live:
        • Drew emphasizes creating unforgettable moments in every show.
        • A glimpse into what fans can expect from upcoming gigs and what’s next for the band.
        
        

        Listen now to catch the full conversation and experience the heart behind Slowburner. Whether you're a longtime fan or new to District Attorneys, this episode delivers an honest, heartfelt look at music, creativity, and the power of collaboration.

        Available wherever you get your podcasts.

        Chapters

        • 00:00 - Introduction to Country Fried Rock
        • 01:09 - The Journey of a Musician
        • 07:09 - The Formation of the Band
        • 14:51 - The Journey of Creating Slowburner
        • 20:52 - The Live Performance Experience
        • 27:03 - Preparing for the Next Record
        
        

        Takeaways

        • Drew Beskin passionately shares about his creative process and the inspiration behind the District Attorneys' music, showcasing how personal experiences shape artistic expression.
        • The conversation dives into the significance of live performances and how they influence the songwriting process, highlighting the vibrant Athens music scene.
        • Listeners gain insight into the band's approach to recording their album, Slowburner, and the collective effort that went into crafting each track with care and creativity.
        • The dynamic between band members is explored, emphasizing the importance of friendship and collaboration in both songwriting and live performances.
        • Drew reflects on the evolution of his musical journey, from aspiring drummer to frontman, illustrating the growth that comes with time and experience in the industry.
        • The episode wraps up with a nod to the fun and camaraderie within the band, as they discuss their favorite venues and the joy of sharing music with audiences.
        
        

        Mentioned in this Episode

        • District Attorneys
        • Slowburner
        • Rilo Kiley
        • Whiskeytown
        • Indiana University
        • Gillian Welch
        • Future Birds
        • Uncut
        • Rolling Stone
        • Paste
        • Guitar World
        • Centromatic
        • Georgia Theater
        • Masquerade
        • Pianos
        • Hole in the Wall
        • Gus's Fried Chicken
        • Nuci's Space
        
        

        Recommended If You Like

        country fried rock, Drew Beskin, District Attorneys, Slowburner album, indie music podcast, songwriting inspiration, Athens music scene, live music performances, music collaboration, recording process, music interviews, creative songwriting, indie rock bands, band dynamics, music production, acoustic performances, music influences, EP releases, musician mental health, music festivals, slow burner

        Transcript

        Speaker A

        00:00:00.800 - 00:00:13.840

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried rock music uncovered. My guest today on Country Fried Rock is Drew Beskin of the District Attorneys. Hey, Drew.

        Speaker B

        00:00:13.840 - 00:00:14.760

        Hey. How you doing?

        
        

        Speaker A

        00:00:14.760 - 00:00:16.640

        I'm great. Thanks so much for being with us.

        
        

        Speaker B

        00:00:16.640 - 00:00:18.480

        Oh, of course. Really excited.

        
        

        Speaker A

        00:00:18.480 - 00:00:28.720

        Your record, Slow Burner is one of those. I got it and I put it in and I went, I'm never taking this out of my car. That does not happen very often.

        
        

        So I literally was like, yes, I get to talk to them.

        
        

        Speaker B

        00:00:29.400 - 00:00:59.080

        That's awesome. That's awesome. That's my favorite thing too. When I get a record, I know, like, for me, it's more like one song.

        
        

        I usually, like, stay fixated on one song for, I don't know, for days or weeks on end. Like, I think when I heard Rilo Kiley's Silver Lining, really this is. This is. This is what I'm gonna listen to for three weeks.

        
        

        I went to school in Indiana and I would drive from Atlanta to Indiana for eight hours. I'm pretty sure.

        
        

        I think on one of the trips, I think I did that for Silver Lining and I think one of the trips I did that for Houses on the Hill by Whiskeytown.

        
        

        Speaker A

        00:00:59.080 - 00:00:59.480

        Yeah.

        
        

        Speaker B

        00:00:59.480 - 00:01:04.260

        The first time I heard it, I was like, well, this two minute song is gonna on repeat for eight hours.

        
        

        Speaker A

        00:01:04.820 - 00:01:06.220

        Where'd you go to school in Indiana?

        
        

        Speaker B

        00:01:06.220 - 00:01:07.780

        I went to Indiana University.

        
        

        Speaker A

        00:01:09.300 - 00:01:14.500

        We are gonna jump way, way back. How did you originally get started playing music?

        
        

        Speaker B

        00:01:14.740 - 00:03:27.100

        I guess I've always liked watching live performances on television. I kind of. I always. I wanted to be a drummer. I wanted to be a drummer who like, sang like Levon Helm, who grew up watching Last Waltz.

        
        

        And I just thought it was one of the coolest things to do, like, take one like D. When I think of singing, I think.

        
        

        I think more of like if I close my eyes and someone said singing, I would imagine like a woman singing, I would find that as very feminine and obviously like a tribal be like just drumming. If I close my eyes and someone said percussion, I would think, man, see, like singing and drums together, I like that kind of perfect combination.

        
        

        That's how I felt at least, because I got a drum set, wasn't very good at it. And I'm still not that great at it. I'm getting a little better, but. And also made so much noise that my parents always made me stop.

        
        

        So I ended up playing a guitar. And after, you know, learning a few songs, I kind of wanted to.

        
        

        The main goal is, you know, just to more so impress myself than anything else and just try and go complete a thought and write a thing and like, create something that didn't exist before. You know, Bob Dylan once said, like, I just want. He wrote because he wanted to find a song that he could sing to match his voice.

        
        

        And then Keith Richards. I grew up reading a lot of magazines and I remember certain quotes one another.

        
        

        But Keith Richards said, like, no, we're all just kind of contributing to the one great big song. And I always thought that was interesting. So ever since, I'm probably like 15 or 16 and like, you have to be writing something.

        
        

        If you're not writing, if you haven't written a song in the next three weeks or something, then you're just a loser. You need to hurry up and write more. First it was. It was like studying other writers. And then after, it was just writing as much as possible.

        
        

        And now, up until now, just more of just how do you start over each time?

        
        

        Because for a while I felt like when I've been writing, over the last few years, when I've been writing, it's been more a continuation of women doing like, oh, you can't do this move, or you can't, you know, write about this subject, because you already did that before. But now I've kind of learned, you know, just start over fresh, clean slate with every single song.

        
        

        So it's been kind of from the beginning to now, it's been kind of how can I craft the best song? I mean, obviously I'm no Burt Bach rat, but he's pretty awesome. He's someone. He's written a lot of different. Whole big range of different tunes.

        
        

        I kind of like that. I like the variety of the song.

        
        

        Speaker A

        00:03:27.340 - 00:03:33.980

        Songwriter, when you first started playing guitar, did you start out right away writing, or did you at least learn some other songs first?

        
        

        Speaker B

        00:03:34.380 - 00:05:40.230

        Oh, I think I learned. I first got guitar. I think I learned how to play Back in Black. And then I think that took me about three years.

        
        

        And then after that I started learning other stuff.

        
        

        For a while it was just me sitting at the computer, just trying to learn as many riffs as possible and just trying to be like a shred head or something. But then I saw how cool it could be.

        
        

        Just sit with acoustic guitar and like, you know, you know, write something to see, even with a few chords or whatever. And not. I stopped trying to be so technical.

        
        

        And I don't think I've tried to be technical in a long, long time because it's much more just like rhythm playing. But when I first Started playing guitar, it was, you know, let's see if I can learn this part.

        
        

        Let's see if I can learn all of Houses of the Holy or something like that. But then I think I picked up a big car when I was in seventh grade. I don't know how old that is. I might be 13.

        
        

        And I think once I hit 15, I was like, okay. When I started, like, venturing off and finding my own music, like, not music that my friends listen to and that everyone listened to.

        
        

        Not that this is any type of, like, indie band, but when I discovered Oasis on my own, I mean, this is when the Oasis was already done. I got this album called the Master Plan, which is an album price of just B sides, which I think are much better than their other stuff.

        
        

        And I was like, oh, wow, these are great. And I want to. I want to be able to do this and just. I want to be able to write a song like that. Then I would look into.

        
        

        Then I, you know, kind of stalk Noel Gallagher in it, and then I would. Then I would see that he would. He was talking about how Johnny Moore and Morrissey are like the best team of songwriters.

        
        

        And then I would get into them and then, you know, just everything like that.

        
        

        So just, you know, kind of trying at first, when I got the guitar is more of, okay, so Jimmy Page plays lead guitars because I was just obsessed with him. But then when. No, get. When I was obsessed, no. Gallagher is all about songwriting. So. And that's just kind of what I felt like I gravitated toward.

        
        

        And I. I feel like you can't really fail if you write a song, but you can fail if you try to do like a solo or something. People will find you out. But if you're being honest and it's complete for you, then the song is done and no one can really judge you on that.

        
        

        Hey, this is Drew Beskin from the District Attorneys. Be sure to check out our record Slow Burner, available on. This is AmericanMusic.com youm also mentioned that.

        
        

        Speaker A

        00:05:40.230 - 00:05:43.470

        You like to read a lot about music. Did you have particular magazines you liked?

        
        

        Speaker B

        00:05:43.550 - 00:05:50.630

        Oh, yeah. I mean, I loved Uncut, which I believe. I don't think I believe it's from London, right?

        
        

        Speaker A

        00:05:50.630 - 00:05:51.470

        Yeah, it's still around.

        
        

        Speaker B

        00:05:51.629 - 00:06:08.930

        I remember just whenever I got out of school and I would go to, like, the Barnes and Noble near my high school, that's. I'd grab an uncut magazine. I'd grab. Grab a Rolling Stone, grab. Grab Paste when Paste was still around, right?

        
        

        Because I think they're just they're just online now. Yeah, Yeah, I realize. And also like Guitar World.

        
        

        Speaker A

        00:06:09.410 - 00:06:14.050

        At which point did you either start playing out or did you try to get together a band?

        
        

        Speaker B

        00:06:14.850 - 00:07:26.920

        The songwriting thing was something I kind of did, like, throughout high school just by myself, just kind of in my room, just kind of trying to build up a catalog because I knew what I was writing was very good. Feel like it's kind of like just like training for a marathon or running.

        
        

        Like, I know it comes easier to some people, but I could tell that, you know, this is like a muscle that you're going to have to train. The first hundred or two songs were not very good, and I would say the ones in college weren't that great either. But that's when I was.

        
        

        I got the courage to do some open mic nights in Indiana, which is just me by myself. And then the only other type of band experience I had in Indiana was just playing bass in a friend's band.

        
        

        And then in terms of starting the band, that's. Once I graduated from Indiana, all my friends were still living in Athens because they're still in school, doing that fifth year victory lap.

        
        

        I took a job at a restaurant and moved in with some friends. And that's when we started the band. And then, you know, I think a few months after that, that's when we played our first show as full band.

        
        

        But before then, it's usually just, you know, acoustic solo performances just to see if I was able to, you know, get it out or, you know, be able to stand the stress of staying up and playing guitar in front of people and singing.

        
        

        Speaker A

        00:07:27.440 - 00:07:29.760

        What then led to the formation of the band?

        
        

        Speaker B

        00:07:30.080 - 00:08:20.600

        Our drummer, Chris Wilson, who is one of my best friends, but we.

        
        

        We went to high school together and we, like, in high school, we did, like, talent shows every once in a while, once a year, and we would play with friends and we would do. I think we did a cover of Use Meal Withers, and I think we did Firecracker by Ryan Ems. That was our musical relationship, basically.

        
        

        We always go to shows together and we talk about music a lot. And then we kind of just casually say, hey, whenever we get more than a few months together, we should start a band or whatever.

        
        

        And by the time I got to Athens, I had recorded a bunch of demos just so I could give to him so he could listen to. And then we got the rest of our friends to join the band. And then now we have our band.

        
        

        There's five of us, and four of us went to the same high school.

        
        

        Speaker A

        00:08:20.840 - 00:08:21.320

        Wow.

        
        

        Speaker B

        00:08:22.650 - 00:08:54.020

        Our lead Guitarist was in our grade and he's also one of our best friends, but he was in Richmond, Virginia and he came on I think a year or two later or I think maybe a year, maybe a little under a year later. And then our bass player came on a year later as well.

        
        

        Most of us all knew each other for a very long time and luckily we had a nice six tracks worth of demos for us to kind of listen to so we can get. We kind of not start completely from scratch. And then from there we kind of just went off.

        
        

        Speaker A

        00:08:54.420 - 00:08:56.500

        Are y' all still based in Athens? Y' all are divided?

        
        

        Speaker B

        00:08:56.820 - 00:09:28.310

        Yeah, we're definitely divided. There's three of us that live in Athens and Chris and I live in Atlanta where we both have our regular jobs.

        
        

        We're both involved in media, like social media and search engine, computer optimization, type jobs and advertising. And that's kind of what we both major in. So we both have our. Both keeping our nine to fives while also doing the band thing full time.

        
        

        And then the rest of the band are up in Athens, our bass players still in school and then another two are just up there working.

        
        

        Speaker A

        00:09:28.550 - 00:09:30.110

        What's going to be the turning point for you?

        
        

        Speaker B

        00:09:30.110 - 00:09:38.710

        Oh, I don't know. Maybe if. Maybe if Mouse invites us on a 100 day tour, we'll just go with them and then we'll never look back.

        
        

        Speaker A

        00:09:38.790 - 00:09:39.670

        That would be good.

        
        

        Speaker B

        00:09:40.390 - 00:09:41.990

        It's Drew from the District attorneys.

        
        

        Speaker A

        00:09:42.090 - 00:09:51.770

        Athens bands in particular tend to have this whole thing of if you play in a band in Athens, you probably play in five other Athens bands as well. Is that something that's impacting the three guys who are still up there?

        
        

        Speaker B

        00:09:52.010 - 00:11:00.790

        Yes, definitely....]]>d27e000e-3741-404d-ad49-1f2a0251e0bcFri, 23 Jan 2026 02:02:00 -040030:30truefull12281228Country Fried Rock 1227: Steve Poltz Says Noineen Noiny NoinSummary

        From 2012: Steve Poltz, the musical maestro with a penchant for storytelling, takes center stage in this delightful episode of Country Fried Rock. He dives into his wild journey that began in Australia back in '99, where a chance encounter during a tour with Jewel ignited his love for the land down under. With a lively spirit, he shares the inspiration behind his latest album, uniquely titled Noineen Noiny Noin, a name that sparked curiosity and a smirk or two. Listeners will relish his tales of musical evolution, from classical guitar roots to the whimsical world of fingerstyle rock, peppered with anecdotes about his family and the whimsical influences that shaped his artistry. Poltz reminds everyone that staying true to oneself and being fearless in creativity is the ultimate way to connect with an audience, while also serving up a hearty dose of humor and insight along the way.

        Links

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

        
        

        • Steve Poltz
        • You may also like this conversation from 2012 with Shurman
        
        

        Show Notes

        In this vibrant and freewheeling episode, Steve Poltz takes us on a joyride through the stories, sounds, and serendipity behind his career and latest record, Noineen Noiny Noin. Tune in for a rich mix of heartfelt memories, sharp wit, and musical insight.

        Highlights from the conversation:

        • Steve’s unexpected love affair with Australia, sparked during a tour with Jewel back in 1999
        • The hilarious origin of his album title Noineen Noiny Noin and how a casual promoter interaction turned into creative gold
        • Early musical roots, including:
        • Uncle Louie’s influence through Beatles and Monkees records
        • First encounters with classical guitar and an eccentric fingerstyle teacher who helped shape his sound
        • Poltz’s approach to songwriting:
        • Why learning from the greats still matters
        • How humor and honesty fuel his lyrical voice
        • Turning everyday moments into lasting songs
        • A thoughtful look at how the music industry has shifted, and how Poltz stays grounded while evolving
        • His creative philosophy: embrace the winding path, stay open, and keep telling stories
        
        

        Why You’ll Love This Episode:

        Steve Poltz brings a mix of deep reflection and unpredictable humor, making this a must-listen for fans of authentic songwriting, behind-the-scenes stories, and the creative process at large.

        Listen now and let Steve’s journey remind you: music is about more than just sound; it’s about connection, curiosity, and never losing your spark.

        Chapters

        • 00:00 - Introduction to Country Fried Rock
        • 00:22 - The Journey to Australia
        • 13:42 - Finding Your Voice as a Songwriter
        • 15:32 - Creative Freedom in Music
        • 23:25 - The Creative Process of Music Making
        • 29:15 - The Challenges of Touring and Personal Growth in Music
        • 37:01 - The Influence of Political Identity in Music
        
        

        Takeaways

        • Steve Poltz's journey to Australia began in 1999 while on tour with Jewel, sparking a lifelong connection.
        • The unique title of Poltz's album, inspired by a promoter's quirky pronunciation, sets it apart in the music scene.
        • Poltz emphasizes the importance of learning from musical greats, encouraging aspiring artists to study complex songs.
        • He recalls how his classical guitar training shifted to folk influences, particularly from Bob Dylan and Neil Young.
        • The unpredictability of live performances can lead to remarkable shows, as Poltz experienced in Ann Arbor, where he felt truly inspired.
        • He believes in the necessity of honesty in songwriting, which resonates with audiences and fosters genuine connections.
        
        

        Mentioned in this Episode

        • Jewel
        • Mercury Records
        • T Bone Burnett
        • Full Tones
        • Steve Soto
        • Twisted Hearts
        
        

        Recommended If You Like

        country fried rock, Steve Poltz, music inspiration, Australian music scene, fingerstyle guitar, songwriting process, live music performance, music collaboration, political music, folk rock, creative expression in music, learning guitar, classic rock influences, music industry insights, storytelling through music, contemporary folk artists, house concerts, music and politics, acoustic performance, musician interviews

        Transcript

        Speaker A

        00:00:00.800 - 00:00:11.840

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Steve Poltz.

        Speaker B

        00:00:11.840 - 00:00:13.360

        Welcome, welcome. Thank you.

        
        

        Speaker A

        00:00:13.440 - 00:00:22.000

        Thank you for being with us. Well, mainly from the title, took me a minute to say it out loud to get it and then I went, oh, tell me how you ended up in Australia.

        
        

        Speaker B

        00:00:22.480 - 00:01:08.030

        The way I ended up in Australia was back in 1999. I was on tour with Jewel and I was her opening act all over the world and also in her band playing guitar.

        
        

        So I had double duties and the tour took us to Australia and that began my love affair with Australia. I've been there 12 times. So recently when I was over there, I ran into one of the promoters that I met a long time ago through Jewel.

        
        

        And I said, when? What year was that? That I was there? And he said to me, well, Rick. And he was 90, 99. And I thought that was so cool, the way he said naughty, naughty.

        
        

        Nein that I phonetically spelled it out. N o I N E E N n O I N Y N O I N. So no, no, no. I said, that's gonna be the name of my next record. And everybody said, you can't do that.

        
        

        And I said, yes, I can't. And here it is.

        
        

        Speaker A

        00:01:08.190 - 00:01:14.350

        I love it, especially because visually it's complicated, but once you say it, it isn't complicated.

        
        

        Speaker B

        00:01:14.590 - 00:01:21.790

        Yeah. And it's the only noiny noin record out there. There's a few. Let it be. Like, if you look up certain titles, I wanted mine to be the only one.

        
        

        Speaker A

        00:01:22.110 - 00:01:23.630

        That's actually a really good idea.

        
        

        Speaker B

        00:01:23.870 - 00:01:24.510

        Thank you.

        
        

        Speaker A

        00:01:24.510 - 00:01:29.990

        I had not thought about that. I know that with, like, band names, that's particularly helpful, but I hadn't thought about it in terms of album names.

        
        

        Speaker B

        00:01:30.380 - 00:01:30.700

        Yeah.

        
        

        Speaker A

        00:01:31.260 - 00:01:38.460

        I know that you play a particularly intricate finger style way, but how did you originally get into playing music way back?

        
        

        Speaker B

        00:01:38.620 - 00:03:00.130

        Well, the way I got into playing music was I have an uncle who's a brilliant piano player, and it's Uncle Louie. And we're all from Canada originally. And Uncle Louie, that side of my family is all from Cape Breton, where there's a lot of music.

        
        

        And so Uncle Louie came down and he was and still is, has always been a really cool uncle and has influenced me a lot. And so he would give me Beatles records and Monkees records, both Monkees and the Beatles, and he would take me to concerts.

        
        

        He took me to see Jesus Christ Superstar at the Hollywood Bowl. We used to go to the Hollywood bowl and I got really into Jesus Christ Superstar, like both albums, Andrew Lloyd Webber and Tim Rice.

        
        

        But the way I got into guitar was at a young age, I think I was like six. He took me to see Julian Bream, this classical guitarist from England, at the Hollywood Bowl.

        
        

        And it was just a brilliant concert, like concerts I remember as a kid were Sarah Vaughn, Ella Fitzgerald and Carmen McCray and then Julian Bream. So I saw some pretty heady stuff for a young kid. And the Julian Bream one was the one that really affected me the most.

        
        

        And I remember when I left there, I said, I want to learn to play a string instrument. And they said, well, okay, you want to learn banjo or guitar? And I said, I want to learn classical guitar.

        
        

        So we had a guy come over to teach me and I'll never forget he had a glass eye and a wooden leg and he smelled like mothballs.

        
        

        Speaker A

        00:03:00.770 - 00:03:01.170

        Great.

        
        

        Speaker B

        00:03:01.410 - 00:03:47.460

        I wanted to rock. But he brought over the Mel Bay guitar method book. And it was so boring. I remember as a kid going, this is it.

        
        

        It's sort of when you hit that reality that you're just not going to pick up guitar right away and start rocking that. It takes work.

        
        

        So I wanted to quit, but I owe it to my parents for saying, if we pay for these lessons, you have to promise you're going to practice an hour a day. They made me stick with that promise. At first it's hard. It's kind of like breaking a horse, a wild horse and teaching them how to be.

        
        

        But then it was like a funny thing happened on the way to...]]>Summary

        From 2012: Steve Poltz, the musical maestro with a penchant for storytelling, takes center stage in this delightful episode of Country Fried Rock. He dives into his wild journey that began in Australia back in '99, where a chance encounter during a tour with Jewel ignited his love for the land down under. With a lively spirit, he shares the inspiration behind his latest album, uniquely titled Noineen Noiny Noin, a name that sparked curiosity and a smirk or two. Listeners will relish his tales of musical evolution, from classical guitar roots to the whimsical world of fingerstyle rock, peppered with anecdotes about his family and the whimsical influences that shaped his artistry. Poltz reminds everyone that staying true to oneself and being fearless in creativity is the ultimate way to connect with an audience, while also serving up a hearty dose of humor and insight along the way.

        Links

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

        
        

        • Steve Poltz
        • You may also like this conversation from 2012 with Shurman
        
        

        Show Notes

        In this vibrant and freewheeling episode, Steve Poltz takes us on a joyride through the stories, sounds, and serendipity behind his career and latest record, Noineen Noiny Noin. Tune in for a rich mix of heartfelt memories, sharp wit, and musical insight.

        Highlights from the conversation:

        • Steve’s unexpected love affair with Australia, sparked during a tour with Jewel back in 1999
        • The hilarious origin of his album title Noineen Noiny Noin and how a casual promoter interaction turned into creative gold
        • Early musical roots, including:
        • Uncle Louie’s influence through Beatles and Monkees records
        • First encounters with classical guitar and an eccentric fingerstyle teacher who helped shape his sound
        • Poltz’s approach to songwriting:
        • Why learning from the greats still matters
        • How humor and honesty fuel his lyrical voice
        • Turning everyday moments into lasting songs
        • A thoughtful look at how the music industry has shifted, and how Poltz stays grounded while evolving
        • His creative philosophy: embrace the winding path, stay open, and keep telling stories
        
        

        Why You’ll Love This Episode:

        Steve Poltz brings a mix of deep reflection and unpredictable humor, making this a must-listen for fans of authentic songwriting, behind-the-scenes stories, and the creative process at large.

        Listen now and let Steve’s journey remind you: music is about more than just sound; it’s about connection, curiosity, and never losing your spark.

        Chapters

        • 00:00 - Introduction to Country Fried Rock
        • 00:22 - The Journey to Australia
        • 13:42 - Finding Your Voice as a Songwriter
        • 15:32 - Creative Freedom in Music
        • 23:25 - The Creative Process of Music Making
        • 29:15 - The Challenges of Touring and Personal Growth in Music
        • 37:01 - The Influence of Political Identity in Music
        
        

        Takeaways

        • Steve Poltz's journey to Australia began in 1999 while on tour with Jewel, sparking a lifelong connection.
        • The unique title of Poltz's album, inspired by a promoter's quirky pronunciation, sets it apart in the music scene.
        • Poltz emphasizes the importance of learning from musical greats, encouraging aspiring artists to study complex songs.
        • He recalls how his classical guitar training shifted to folk influences, particularly from Bob Dylan and Neil Young.
        • The unpredictability of live performances can lead to remarkable shows, as Poltz experienced in Ann Arbor, where he felt truly inspired.
        • He believes in the necessity of honesty in songwriting, which resonates with audiences and fosters genuine connections.
        
        

        Mentioned in this Episode

        • Jewel
        • Mercury Records
        • T Bone Burnett
        • Full Tones
        • Steve Soto
        • Twisted Hearts
        
        

        Recommended If You Like

        country fried rock, Steve Poltz, music inspiration, Australian music scene, fingerstyle guitar, songwriting process, live music performance, music collaboration, political music, folk rock, creative expression in music, learning guitar, classic rock influences, music industry insights, storytelling through music, contemporary folk artists, house concerts, music and politics, acoustic performance, musician interviews

        Transcript

        Speaker A

        00:00:00.800 - 00:00:11.840

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Steve Poltz.

        Speaker B

        00:00:11.840 - 00:00:13.360

        Welcome, welcome. Thank you.

        
        

        Speaker A

        00:00:13.440 - 00:00:22.000

        Thank you for being with us. Well, mainly from the title, took me a minute to say it out loud to get it and then I went, oh, tell me how you ended up in Australia.

        
        

        Speaker B

        00:00:22.480 - 00:01:08.030

        The way I ended up in Australia was back in 1999. I was on tour with Jewel and I was her opening act all over the world and also in her band playing guitar.

        
        

        So I had double duties and the tour took us to Australia and that began my love affair with Australia. I've been there 12 times. So recently when I was over there, I ran into one of the promoters that I met a long time ago through Jewel.

        
        

        And I said, when? What year was that? That I was there? And he said to me, well, Rick. And he was 90, 99. And I thought that was so cool, the way he said naughty, naughty.

        
        

        Nein that I phonetically spelled it out. N o I N E E N n O I N Y N O I N. So no, no, no. I said, that's gonna be the name of my next record. And everybody said, you can't do that.

        
        

        And I said, yes, I can't. And here it is.

        
        

        Speaker A

        00:01:08.190 - 00:01:14.350

        I love it, especially because visually it's complicated, but once you say it, it isn't complicated.

        
        

        Speaker B

        00:01:14.590 - 00:01:21.790

        Yeah. And it's the only noiny noin record out there. There's a few. Let it be. Like, if you look up certain titles, I wanted mine to be the only one.

        
        

        Speaker A

        00:01:22.110 - 00:01:23.630

        That's actually a really good idea.

        
        

        Speaker B

        00:01:23.870 - 00:01:24.510

        Thank you.

        
        

        Speaker A

        00:01:24.510 - 00:01:29.990

        I had not thought about that. I know that with, like, band names, that's particularly helpful, but I hadn't thought about it in terms of album names.

        
        

        Speaker B

        00:01:30.380 - 00:01:30.700

        Yeah.

        
        

        Speaker A

        00:01:31.260 - 00:01:38.460

        I know that you play a particularly intricate finger style way, but how did you originally get into playing music way back?

        
        

        Speaker B

        00:01:38.620 - 00:03:00.130

        Well, the way I got into playing music was I have an uncle who's a brilliant piano player, and it's Uncle Louie. And we're all from Canada originally. And Uncle Louie, that side of my family is all from Cape Breton, where there's a lot of music.

        
        

        And so Uncle Louie came down and he was and still is, has always been a really cool uncle and has influenced me a lot. And so he would give me Beatles records and Monkees records, both Monkees and the Beatles, and he would take me to concerts.

        
        

        He took me to see Jesus Christ Superstar at the Hollywood Bowl. We used to go to the Hollywood bowl and I got really into Jesus Christ Superstar, like both albums, Andrew Lloyd Webber and Tim Rice.

        
        

        But the way I got into guitar was at a young age, I think I was like six. He took me to see Julian Bream, this classical guitarist from England, at the Hollywood Bowl.

        
        

        And it was just a brilliant concert, like concerts I remember as a kid were Sarah Vaughn, Ella Fitzgerald and Carmen McCray and then Julian Bream. So I saw some pretty heady stuff for a young kid. And the Julian Bream one was the one that really affected me the most.

        
        

        And I remember when I left there, I said, I want to learn to play a string instrument. And they said, well, okay, you want to learn banjo or guitar? And I said, I want to learn classical guitar.

        
        

        So we had a guy come over to teach me and I'll never forget he had a glass eye and a wooden leg and he smelled like mothballs.

        
        

        Speaker A

        00:03:00.770 - 00:03:01.170

        Great.

        
        

        Speaker B

        00:03:01.410 - 00:03:47.460

        I wanted to rock. But he brought over the Mel Bay guitar method book. And it was so boring. I remember as a kid going, this is it.

        
        

        It's sort of when you hit that reality that you're just not going to pick up guitar right away and start rocking that. It takes work.

        
        

        So I wanted to quit, but I owe it to my parents for saying, if we pay for these lessons, you have to promise you're going to practice an hour a day. They made me stick with that promise. At first it's hard. It's kind of like breaking a horse, a wild horse and teaching them how to be.

        
        

        But then it was like a funny thing happened on the way to wherever I was going. I got what happened was after about a few months, it just became a habit to practice play guitar. And it became my time with just me.

        
        

        And I got really into it. So that's how I started playing that style, finger style.

        
        

        Speaker A

        00:03:47.460 - 00:03:51.440

        Then wasn't a huge change just bringing some rock and roll into it, right?

        
        

        Speaker B

        00:03:51.600 - 00:05:42.741

        Yeah, it was more of a change when I. When I left from playing classical guitar, which I did for years, to kind of playing like James Taylor style stuff and listening to.

        
        

        I remember the very first day I really heard Bob Dylan. I mean, like, I had heard him on the radio every once in a while.

        
        

        But the day I really heard him was I have another uncle who had left some records and he had moved away and gone. I think he went to Vietnam or something and he left records. And one of the records was Bob Dylan, Blonde on Blonde.

        
        

        And I remember being bored one day and I put that on and I recognized the sound on Just Like a Woman of a Classical Guitar, because it's definitely a nylon string or what we call a gut string guitar. And you can tell by the sound of it, it's just got a softer tone. I went, wow, that's a classical guitar. Yet he's playing folk pop music.

        
        

        And it's that whole lick in between. She breaks just like a little girl Dun dun dun dun dun dun dun dun dun dun dun dun dun dun that's finger pick on a classical guitar.

        
        

        And my ears recognized it. And then I got really into Bob Dylan and his idiosyncratic style of singing and the way he phrased words out.

        
        

        And, like, when he sings a word, it becomes the word, you know, with the way he would stretch the word out. And he could say it with such vindictiveness or such sweetness, depending on the song. And I really took to that.

        
        

        Almost like the way Sinatra sings as well. When Sinatra sings a word, he's almost like a Shakespearean actor in his phrasing.

        
        

        Like, if you listen to Sinatra sing in the wee small hours of the morning, you're really transported, too. Here's this guy in the wee small hours of the morning, you know, lamenting and pining for this woman the way Sinatra did it.

        
        

        I think he was really a gift. An American original, too, in his phrasing, just as Dylan is. Hi, this is Steve Pulse. You listen to country fried rock.

        
        

        If you want to check out my music, go to pulse.com p o l.

        
        

        Speaker A

        00:05:42.925 - 00:05:51.000

        Tz.Com pulse.com this has my brain going in so many different directions in terms of back to the Dylan thing. You're pretty young when that hit, though.

        
        

        Speaker B

        00:05:51.400 - 00:07:33.790

        Yeah, but I was a really precocious little kid, and I was up and modest. I was. I was glued to the Smothers Brothers Comedy Hour.

        
        

        And I was really trying to figure out what the adults were seeing in those jokes, because it was funny to me. Tommy's shenanigans and seeing his brother Dickie Smothers get angry with him.

        
        

        And then my dad explained to me what a straight man was versus the comedic guy and how, like, as a duo, you need one straight man. Not to be confused with my Uncle Louie, who is a gay man. It's a whole different thing.

        
        

        And so I really got into all that stuff and what was happening, and it was exciting to me. And why were we involved in Vietnam? And every day I would ask my parents, well, why? I still don't understand why we're killing people. Like, why?

        
        

        So they got that mad. Can't they sit down at a table? I was constantly asking this question. So we're going to kill people, right? Wait, so I was like obsessed with this.

        
        

        I get the globe, I'd say. So right now we are killing people here, right? Yeah. Steve, can we change the submit? No, we're shooting people like kids and stuff.

        
        

        They're getting killed over what? Well, there's this thing called communism. And it really was.

        
        

        I grew up with that awareness because I was, you know, in 1966, I was a six year old little kid. Like my earliest memory is my mom crying at Kennedy's funeral on tv. I remember that. And I was wondering why she was crying.

        
        

        And then I remember Martin Luther King being assassinated. I remember Bobby Kennedy being assassinated.

        
        

        And there was this whole period of tumultuous and it seemed like every day some rock star was Odin, Jimi Hendrix, Janis Joplin. And so I remember I had pictures of the Beatles on my wall and I was obsessed with Richard Nixon. Why did he not like John Lennon?

        
        

        You know, why can't people just get along? And so all of that really played into music. And music to me back then was scary. You know, it scared me that I was drawn to it.

        
        

        Speaker A

        00:07:33.950 - 00:07:37.550

        So a lot of those questions then still remain in our current lives as well.

        
        

        Speaker B

        00:07:38.120 - 00:08:47.179

        They still remain today. Yeah, it's ever elusive. There's an answer. You know, you can take it all the way to the riddle of the Middle East.

        
        

        How, how is that ever going to be solved?

        
        

        You know, and it goes back to tribal thinking and kind of United States trying to force democracies on people that aren't ready or supporting dictators in countries that we have no business being in because it's economically beneficial to us to support them. And then wondering why, when they turn against us, why are they turning against us?

        
        

        Well, you know, because it was ripe for somebody like Fidel Castro to come in back in the years with Che Guevara. Just if you just look at the whole thing historically.

        
        

        Like I've always, when I went to college, I studied political science and I was, I even brought my professors home for Thanksgiving from the college I went to. And I'm talking like conservative and liberal professors. I hung out with both.

        
        

        One of my teachers was a total Nixon apologist and we read pro Nixon books. And I loved that guy.

        
        

        Like his arguments were very cogent and valid and the way that he phrased his arguments to why Nixon was a brilliant politician, which in many ways he was. Ping pong diplomacy. However, his own paranoia got the best of them. But I think all that plays into music.

        
        

        Speaker A

        00:08:47.659 - 00:08:51.739

        So at what point did those Thoughts and or feelings end up coming through in your music.

        
        

        Speaker B

        00:08:52.139 - 00:09:13.980

        Well, that took a long time. I didn't write songs till I got older. I always tried to write songs. But what I did do was learn a lot of songs.

        
        

        And that's what I tell a lot of people today. Like younger players. Learn all the songs you can and learn really complex songs.

        
        

        Like, a couple years ago, I learned the Marvin Hamlisch, Marilyn and Alan Bergman song that they co wrote together called the Way We Were that Streisand had a hit with.

        
        

        Speaker A

        00:09:13.980 - 00:09:14.580

        Oh, yeah? Yeah.

        
        

        Speaker B

        00:09:14.580 - 00:09:48.770

        It's a beautiful song. And if you really look at it lyrically and melodically, it's crazy. The chord changes or I learn.

        
        

        I tell the guitarist, learn a Jimmy Webb song like by the Time I Get to Phoenix. Because they're deceptively. They're very deceptive. You think, oh, that's not gonna be that hard. But the chords that Jimmy Webb uses are brilliant.

        
        

        And make. Make those guys your gurus and your teachers. And if you study those songs, it's gonna manifest itself in some way in your writing.

        
        

        Because we're all sponges. And you're gonna pick up something out of it. Listen to that and listen to the Sex Pistols. Listen to Nevermind the Bollocks.

        
        

        I mean, the production on that album's crazy.

        
        

        Speaker A

        00:09:48.770 - 00:09:49.290

        Yeah.

        
        

        Speaker B

        00:09:49.450 - 00:10:15.640

        It's insane how good that record is. You know, I love listening to some really hardcore punk rock and then listen to some beautiful, you know, Barbra Streisand.

        
        

        And I think they're all valid and they're gonna come out in different ways. I didn't start writing till I was older, but I learned a lot of songs, like from Loud and Wainwright singing Dead Skunk in the Middle of the Road.

        
        

        I always loved those humorous songs to Pete Seeger, you know, waist Deep in the Big. A political song about questioning authority.

        
        

        Speaker A

        00:10:16.040 - 00:10:25.080

        That's interesting because the methodology then is really similar to that of how famous artists originally learned. You study the masters, you imitate the masters, then you move on.

        
        

        Speaker B

        00:10:25.640 - 00:12:28.150

        Yeah, I'm a true believer in that. And for classical guitar, I listened to, you know, I had my favorites. There was a female player, Leona Boyd.

        
        

        She was fantastic and also beautiful to look at. She was like my first crush. I was like, wow, this girl's hot. And I was a kid, and she plays classical guitar. And then, of course, Segovia.

        
        

        I never liked Christopher Parkening that much. There was something about. I even had a sense of weird style back then. I didn't like his turtlenecks he wore. Offensive to my sense of Style.

        
        

        I thought he was too hoity toity. And I...]]>231885b8-e8b8-49be-867a-dd53edf43a42Fri, 16 Jan 2026 02:02:00 -040041:55truefull12271227Country Fried Rock 1223: The dB's Peter Holsapple on Reunions and New RecordsSummary

        From 2012: Peter Holsapple of the legendary band the dB's drops in to chat with the crew at Country Fried Rock, and boy, do they dive deep into the well of musical nostalgia. Right off the bat, he spills the beans about their fresh record, which marks a reunion of the original lineup after decades of creative evolution. It’s a heartwarming trip down memory lane as he shares how growing up in Winston Salem, North Carolina, shaped their sound and their enduring friendships. They get candid about the rollercoaster ride of life’s ups and downs, marriages, hurricanes, and everything in between, that feed into their songwriting. With a mix of wit and warmth, Holsapple reflects on the essence of their music, emphasizing that every record they've crafted has been a reflection of their journeys, proving that while time may change people, true creativity knows how to adapt and thrive.

        Links

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

        
        

        • Peter Holsapple's occasional blog
        • Peter Holsapple on Bandcamp
        • the dB's
        • You may also enjoy this conversation from 2015 with RayLand Baxter
        
        

        Show Notes

        In this episode of Country Fried Rock, we dive deep into the creative cosmos with Peter Holsapple, musician, songwriter, and member of the legendary jangle-pop band, the dB's. It’s a soulful, funny, and reflective journey through decades of music, friendship, and life lived out loud.

        Here’s what you’ll hear in this episode:

        • A nostalgic return to Winston-Salem, North Carolina, where Peter and the dB’s story began
        • How early friendships turned into lifelong musical partnerships
        • The organic formation of the dB's and their rise in the alternative music scene
        • Life chapters woven into the band’s evolution: marriage, fatherhood, natural disasters, and personal reinvention
        • A behind-the-scenes look at the making of the dB’s latest album, featuring the original lineup for the first time in decades
        • The creative process: how each member’s journey shaped the sound and feel of their newest record
        • A deep dive into the emotional weight behind “She Won’t Drive in the Rain Anymore” and how Hurricane Katrina influenced their writing
        • Thoughts on balancing fan-favorite classics with new material in their live sets
        • Road stories from tours past, complete with weird detours and unforgettable moments
        • Reflections on the music industry’s shift, from vinyl to social media, and how connection with fans has changed
        • Peter’s take on what makes music timeless and why making good music still matters most
        
        

        Why you should listen:

        This episode isn’t just about a band; it’s about creative endurance, emotional honesty, and the beauty of growing alongside your art. Whether you’re a longtime dB’s fan or just discovering their sound, Peter Holsapple’s stories offer something real, raw, and resonant.

        Listen now and join the ride, from the backroads of North Carolina to the frontlines of indie music history.

        Chapters

        • 00:09 - Introduction to Peter Holsapple
        • 05:56 - The DB's Journey: From Formation to Reunion
        • 10:20 - The Evolution of Music and Its Business
        • 19:46 - The Importance of Vinyl and Live Music
        • 26:30 - The Journey of Touring: Stories from the Road
        
        

        Takeaways

        • The podcast dives deep into the creative journey of Peter Holsapple, emphasizing how life experiences shape artistic expression over time, especially through challenges like hurricanes and personal loss.
        • Listeners gain insight into the evolution of the DB's music, revealing how past experiences and collaborations influence their new sound, making it fresh yet familiar for fans old and new.
        • Holsapple reflects on the significance of community and connections in the music industry, noting how social media can bridge gaps between artists and fans, despite the complexities of modern music business.
        • The episode highlights the importance of live performances in sustaining a band's relevance today, with Holsapple humorously lamenting the logistical challenges of touring as a 'grown-up' musician with responsibilities.
        • Throughout the episode, the candid dialogue showcases the balance between nostalgia for past hits and the desire to push creative boundaries, reflecting on how older songs can be reinterpreted for contemporary audiences.
        • Finally, Holsapple's light-hearted anecdotes about their band dynamics and past touring experiences add a relatable touch, making the conversation both engaging and deeply reflective.
        
        

        Mentioned in this Episode

        • the dB's
        • R.E.M .
        • Continental Drifters
        • Hootie and the Blowfish
        • Sugarland
        • Atlantic
        • New Orleans Musicians Relief Fund
        • Bar None Records
        
        

        Recommended If You Like

        Country Fried Rock, Peter Holsapple, the dB's band, the dBs, dBs, North Carolina music scene, creative inspiration musicians, new music releases, indie music interviews, music industry challenges, songwriting process, vinyl records, music nostalgia, dB's latest album, music collaboration, live music performances, influences on songwriting, New Orleans music, Hurricane Katrina impact, music and personal experiences, music fan culture, retro vs. modern music.

        Transcript

        Speaker A

        00:00:00.800 - 00:00:18.240

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

        My guest today on Country Fried Rock is Peter Holzappel of many different bands over the years, including the Deebees with a brand new record with their original lineup out on air. Thanks so much for being with us.

        Speaker B

        00:00:18.240 - 00:00:19.200

        You're very welcome.

        
        

        Speaker A

        00:00:19.360 - 00:00:26.720

        So I know a little bit about the Deebees only because I was one of the fans back in the day. But you all originally got together at a very young age.

        
        

        Speaker B

        00:00:27.440 - 00:00:46.640

        Well, we all grew up together in Winston Salem, North Carolina. So we've known each other since we were like eight or nine.

        
        

        You know, we had a very, very active band scene down there, so we, we all played together in various groups. And then eventually after Chris moved to New York to play with Alex Chilton in 1977 or 78, I believe the rest of us kind of followed suit.

        
        

        Speaker A

        00:00:46.880 - 00:00:55.520

        Over the years, as you all have formed and reformed as the dbs, what has led to where you are moving forward creatively?

        
        

        Speaker B

        00:00:56.330 - 00:01:16.170

        Time passes and people change so naturally. Hopefully if one starts as a creative person, one will continue on and change as life changes.

        
        

        The different influences of marriages, divorces, hurricanes, children, abuse problems, things like that. They all contribute, certainly. You know, every record I've ever listened to has changed me.

        
        

        Speaker A

        00:01:16.410 - 00:01:24.890

        Let's back up chronologically a little bit. As you all were first coming together in the original foursome, what led to you all deciding to form the DB's?

        
        

        Speaker B

        00:01:24.890 - 00:02:04.280

        Specifically, Chris really wanted to start a band. So Chris got in touch with Will and then Gene, who was living in Philadelphia at the time.

        
        

        Will, I believe, was still in Chapel Hill and said, you should come up and play. And so they started a band up there.

        
        

        And then about four months later, three months later, I had been living in Memphis and doing a little bit of recording there and they said, why don't you come up? We need a keyboard player. Do you want to audition? So I auditioned and I'm still assuming that I passed the audition.

        
        

        And we kept the group going after Chris left and then Gene left and then we pulled the plug on it eventually, about 1988. But we had a good 10 year run with the band for sure.

        
        

        Speaker A

        00:02:04.440 - 00:02:06.600

        Where did you go with your music after that?

        
        

        Speaker B

        00:02:06.680 - 00:02:55.300

        Well, the first thing, I got contacted by REM to go out and work as their extra hand out there playing guitar and bass and keyboards and accordion. So I did that for about a year and a half and then living in Los Angeles and got together with some friends out there with a band.

        
        

        Called the Continental Drifters. And then we moved that band Lock, Stock and Barrel down to New Orleans and it went through 2002, I believe.

        
        

        And meanwhile, I was also playing with Hootie and the Blowfish. I got a call from their A and R person at Atlantic and said, would you be interested? So that's sort of where I went.

        
        

        And then eventually, you know, we did a couple of DB shows and Chris and I had done a couple of duet records, right. There were some...]]>Summary

        From 2012: Peter Holsapple of the legendary band the dB's drops in to chat with the crew at Country Fried Rock, and boy, do they dive deep into the well of musical nostalgia. Right off the bat, he spills the beans about their fresh record, which marks a reunion of the original lineup after decades of creative evolution. It’s a heartwarming trip down memory lane as he shares how growing up in Winston Salem, North Carolina, shaped their sound and their enduring friendships. They get candid about the rollercoaster ride of life’s ups and downs, marriages, hurricanes, and everything in between, that feed into their songwriting. With a mix of wit and warmth, Holsapple reflects on the essence of their music, emphasizing that every record they've crafted has been a reflection of their journeys, proving that while time may change people, true creativity knows how to adapt and thrive.

        Links

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

        
        

        • Peter Holsapple's occasional blog
        • Peter Holsapple on Bandcamp
        • the dB's
        • You may also enjoy this conversation from 2015 with RayLand Baxter
        
        

        Show Notes

        In this episode of Country Fried Rock, we dive deep into the creative cosmos with Peter Holsapple, musician, songwriter, and member of the legendary jangle-pop band, the dB's. It’s a soulful, funny, and reflective journey through decades of music, friendship, and life lived out loud.

        Here’s what you’ll hear in this episode:

        • A nostalgic return to Winston-Salem, North Carolina, where Peter and the dB’s story began
        • How early friendships turned into lifelong musical partnerships
        • The organic formation of the dB's and their rise in the alternative music scene
        • Life chapters woven into the band’s evolution: marriage, fatherhood, natural disasters, and personal reinvention
        • A behind-the-scenes look at the making of the dB’s latest album, featuring the original lineup for the first time in decades
        • The creative process: how each member’s journey shaped the sound and feel of their newest record
        • A deep dive into the emotional weight behind “She Won’t Drive in the Rain Anymore” and how Hurricane Katrina influenced their writing
        • Thoughts on balancing fan-favorite classics with new material in their live sets
        • Road stories from tours past, complete with weird detours and unforgettable moments
        • Reflections on the music industry’s shift, from vinyl to social media, and how connection with fans has changed
        • Peter’s take on what makes music timeless and why making good music still matters most
        
        

        Why you should listen:

        This episode isn’t just about a band; it’s about creative endurance, emotional honesty, and the beauty of growing alongside your art. Whether you’re a longtime dB’s fan or just discovering their sound, Peter Holsapple’s stories offer something real, raw, and resonant.

        Listen now and join the ride, from the backroads of North Carolina to the frontlines of indie music history.

        Chapters

        • 00:09 - Introduction to Peter Holsapple
        • 05:56 - The DB's Journey: From Formation to Reunion
        • 10:20 - The Evolution of Music and Its Business
        • 19:46 - The Importance of Vinyl and Live Music
        • 26:30 - The Journey of Touring: Stories from the Road
        
        

        Takeaways

        • The podcast dives deep into the creative journey of Peter Holsapple, emphasizing how life experiences shape artistic expression over time, especially through challenges like hurricanes and personal loss.
        • Listeners gain insight into the evolution of the DB's music, revealing how past experiences and collaborations influence their new sound, making it fresh yet familiar for fans old and new.
        • Holsapple reflects on the significance of community and connections in the music industry, noting how social media can bridge gaps between artists and fans, despite the complexities of modern music business.
        • The episode highlights the importance of live performances in sustaining a band's relevance today, with Holsapple humorously lamenting the logistical challenges of touring as a 'grown-up' musician with responsibilities.
        • Throughout the episode, the candid dialogue showcases the balance between nostalgia for past hits and the desire to push creative boundaries, reflecting on how older songs can be reinterpreted for contemporary audiences.
        • Finally, Holsapple's light-hearted anecdotes about their band dynamics and past touring experiences add a relatable touch, making the conversation both engaging and deeply reflective.
        
        

        Mentioned in this Episode

        • the dB's
        • R.E.M .
        • Continental Drifters
        • Hootie and the Blowfish
        • Sugarland
        • Atlantic
        • New Orleans Musicians Relief Fund
        • Bar None Records
        
        

        Recommended If You Like

        Country Fried Rock, Peter Holsapple, the dB's band, the dBs, dBs, North Carolina music scene, creative inspiration musicians, new music releases, indie music interviews, music industry challenges, songwriting process, vinyl records, music nostalgia, dB's latest album, music collaboration, live music performances, influences on songwriting, New Orleans music, Hurricane Katrina impact, music and personal experiences, music fan culture, retro vs. modern music.

        Transcript

        Speaker A

        00:00:00.800 - 00:00:18.240

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

        My guest today on Country Fried Rock is Peter Holzappel of many different bands over the years, including the Deebees with a brand new record with their original lineup out on air. Thanks so much for being with us.

        Speaker B

        00:00:18.240 - 00:00:19.200

        You're very welcome.

        
        

        Speaker A

        00:00:19.360 - 00:00:26.720

        So I know a little bit about the Deebees only because I was one of the fans back in the day. But you all originally got together at a very young age.

        
        

        Speaker B

        00:00:27.440 - 00:00:46.640

        Well, we all grew up together in Winston Salem, North Carolina. So we've known each other since we were like eight or nine.

        
        

        You know, we had a very, very active band scene down there, so we, we all played together in various groups. And then eventually after Chris moved to New York to play with Alex Chilton in 1977 or 78, I believe the rest of us kind of followed suit.

        
        

        Speaker A

        00:00:46.880 - 00:00:55.520

        Over the years, as you all have formed and reformed as the dbs, what has led to where you are moving forward creatively?

        
        

        Speaker B

        00:00:56.330 - 00:01:16.170

        Time passes and people change so naturally. Hopefully if one starts as a creative person, one will continue on and change as life changes.

        
        

        The different influences of marriages, divorces, hurricanes, children, abuse problems, things like that. They all contribute, certainly. You know, every record I've ever listened to has changed me.

        
        

        Speaker A

        00:01:16.410 - 00:01:24.890

        Let's back up chronologically a little bit. As you all were first coming together in the original foursome, what led to you all deciding to form the DB's?

        
        

        Speaker B

        00:01:24.890 - 00:02:04.280

        Specifically, Chris really wanted to start a band. So Chris got in touch with Will and then Gene, who was living in Philadelphia at the time.

        
        

        Will, I believe, was still in Chapel Hill and said, you should come up and play. And so they started a band up there.

        
        

        And then about four months later, three months later, I had been living in Memphis and doing a little bit of recording there and they said, why don't you come up? We need a keyboard player. Do you want to audition? So I auditioned and I'm still assuming that I passed the audition.

        
        

        And we kept the group going after Chris left and then Gene left and then we pulled the plug on it eventually, about 1988. But we had a good 10 year run with the band for sure.

        
        

        Speaker A

        00:02:04.440 - 00:02:06.600

        Where did you go with your music after that?

        
        

        Speaker B

        00:02:06.680 - 00:02:55.300

        Well, the first thing, I got contacted by REM to go out and work as their extra hand out there playing guitar and bass and keyboards and accordion. So I did that for about a year and a half and then living in Los Angeles and got together with some friends out there with a band.

        
        

        Called the Continental Drifters. And then we moved that band Lock, Stock and Barrel down to New Orleans and it went through 2002, I believe.

        
        

        And meanwhile, I was also playing with Hootie and the Blowfish. I got a call from their A and R person at Atlantic and said, would you be interested? So that's sort of where I went.

        
        

        And then eventually, you know, we did a couple of DB shows and Chris and I had done a couple of duet records, right. There were some songs that seemed like they would really be very well served if they had Will and Jean playing on them.

        
        

        So we asked them and they said, sure.

        
        

        Speaker A

        00:02:55.380 - 00:02:57.720

        You were in New Orleans during the hurric, weren't you?

        
        

        Speaker B

        00:02:57.720 - 00:03:01.320

        I lived there and my family was there. I was on the road with Hooting the Blowfish.

        
        

        Speaker A

        00:03:01.320 - 00:03:05.560

        Okay, how did that end up coming through with what you were writing on.

        
        

        Speaker B

        00:03:05.560 - 00:04:48.440

        This record in particular, there's a song called she Won't Drive in the Rain Anymore. And that's a co write with a man named Christian Bush who's got a band called Sugar Land.

        
        

        He encouraged me to kind of get that stuff out of my system and I told him I had some pieces of it. So we got it sort of in a form to get started and I flushed it out.

        
        

        And I mean, there are a couple of songs that I've written that are sort of Katrina centric, I guess you would say. You know, the biggest thing about that really wasn't losing stuff. I lost a lot of stuff. We lost everything in our house, our car computers.

        
        

        I lost a hard drive full of songs I'd been working on all summer. But the thing that put it really into perspective was the fact that my former brother in law, Barry Cowsel, died in the flood. And I'm not. We don't.

        
        

        You know, the. The specifics of his death are not terribly clear.

        
        

        But he, you know, when you lose an actual person that you have a friendship with and that exists, you know, I mean, I can buy other stuff, but I can't buy another Barry. So that put everything in perspective and I had to be sort of circumspect about the whole thing.

        
        

        But there's another song on that duet record that Chris and I did called Here and Now. The song is called Begin Again and Branford Marcellus played sax on it.

        
        

        That was a lot about kind of visualizing New Orleans after the flood and, you know, the diaspora of the people and how the infrastructure had changed so greatly. So, yeah, so there's, it's, it's. It's popped up in a Few songs. Hi, this is Peter Holzappel from the dbs, and you're listening to Country Fried Rock.

        
        

        Speaker A

        00:04:48.680 - 00:04:54.040

        How do you know when it's something that's going to be a duo for you all or something that would be a Deebees song?

        
        

        Speaker B

        00:04:54.490 - 00:05:45.590

        Hard to say. I mean, all through the DB's, I'm sure Chris and I both.

        
        

        At least I know I was writing that just didn't really strike me as having DB's qualifications. I mean, for me, a DB song should be kind of punchy. Even if it's a ballad, it should have.

        
        

        It needs something that the bass and drums are going to be able to put their thumbprints on. It's great to have dual vocals, you know, but that's going to be the same thing with me and Chris. I think we tend to err on the side of slightly.

        
        

        Not that you would call the DB's heavy by any stretch of the imagination, but the. The approach that we take is slightly heavier acoustic stuff that we do. And maybe that's just because of electric guitars pounding drums and stuff.

        
        

        But I guess early, you know, it's one of those things where, you know, it is and you don't know if it isn't. And it's really hard to. It's like. It's like why I don't teach guitar. I don't. I don't know why I can play what I play. I just can.

        
        

        But I couldn't explain it to a neophyte.

        
        

        Speaker A

        00:05:45.590 - 00:05:56.140

        So, as you all have had comings and goings and kind of moving apart and coming back together in different forms over the years, what was the timeline on this most recent record of all new songs?

        
        

        Speaker B

        00:05:56.460 - 00:06:11.340

        Well, last time the four of us got together was about 1987 or 88 at a benefit for the homeless in Charlotte, North Carolina. And as per usual, in that sort of parallel world of the DBs, where everything that can go wrong. Well, we got middle of the encore.

        
        

        Speaker A

        00:06:11.580 - 00:06:12.460

        Oh, my goodness.

        
        

        Speaker B

        00:06:12.700 - 00:08:43.730

        And there's actual footage of that on YouTube, of course, for those who enjoy the schadenfreude of it all. But suddenly there were a couple of songs that just sort of stuck out as Wouldn't this be a good idea?

        
        

        So then we also got a call from some folks in Chicago about a couple of gigs up there with the original band. And we just sort of ran it by Will and Gene. And, you know, Will was playing.

        
        

        Will's been playing with Steve Earle for many years, and Gene, up until recently, has had a mastering lab in Hoboken. So it was a question of just trying to make sure that he was available for it.

        
        

        We got together and it was a little bit like getting back on the bicycle. You know, everybody sort of knew what to do and we did it. And so that was very handy. So we did that. And then there was some talk.

        
        

        We're just trying to figure out thing else or if we just wanted to do some singles and, you know, if there was a. If there was even a need or desire for it among people. So we all felt good about it. And then seven years later, we got the record finished.

        
        

        But we did. One of the.

        
        

        One of the more pressing things that we did was we did a cover of what Becomes of the Brokenhearted for a charity that was established for musicians in New Orleans by DB's bassist, Jeff Benonado, who joined the band about five years after Chris had left. Just a fine, fine person and as good a friend as you could hope to have and a really dedicated bass player.

        
        

        And he and his wife, Karen Dalton Bananato, started this thing called the New Orleans Musicians Relief Fund. So we wanted to ante up on that, so we did our version of that. It turned out really good.

        
        

        And so once again, as befits the story of the dbs, a lot of it was sort of birthed out of recording and feeling like, well, this is good. We've got some stuff that's gonna sound good.

        
        

        We had to do a lot of thought and a lot of scratching of heads and pulling of hair to figure out what the record was supposed to sound like. Because, you know, Chris was around for the first two records and then he wasn't for the last two.

        
        

        And then we had all these lives and bands and families and divorces and what have you in between the time. And we just were trying to make something that really made sense, I think. So I think we ended up doing that.

        
        

        We winnowed down the 30 songs that we recorded and turned something that seems contiguous and it seems effortless. And it does that thing where it makes it sound like we went in and played it.

        
        

        And it doesn't show all the, you know, false starts and the bum notes and the vocals that we had to repair and things like that. So I think we pulled that off. I think the record really sounds like it belongs in this world as a DB's record.

        
        

        Speaker A

        00:08:43.970 - 00:08:51.210

        For me, when I put it in, as a fan, I hear a DB's record, but I hear a new DB's record. I don't hear retro in any way.

        
        

        Speaker B

        00:08:51.370 - 00:09:07.850

        Good, then we have accomplished what we were Trying to do.

        
        

        I got a wonderful compliment from my 18 year old daughter the evening of her graduation from high school a couple of weeks ago and we put on the record and she said gee dad, for a bunch of old geezers you rock pretty hard. So I take that as the highest form of compliment right there.

        
        

        Speaker A

        00:09:07.930 - 00:09:16.010

        Absolutely. Well, you mentioned that there's all these other songs that didn't make the record and you briefly said something about eps.

        
        

        Is there any talk of life for some of these other songs?

        
        

        Speaker B

        00:09:16.090 - 00:10:20.850

        Oh, possibly, you never can tell. I mean we've put a couple of things on. We did a video for a song called Revolution of the Mind.

        
        

        We did that a couple months ago with the Occupy Wall street people. And then for Record Store day last year we did a 45 of the B side is right back which is on the album that Will wrote.

        
        

        And the A side is a song called Picture Sleeve. Sort of one of the rare co writes between Peter and Chris but.

        
        

        And then you know, like I said, there's a ton more songs in there but I just don't know, you know, I mean my initial thought is well we pulled the good ones and the rest of them were okay, but they're not gonna, you know, blow anybody's dress up particularly. But then again, you know, who knows, I mean maybe it just takes the right mix.

        
        

        So it's hard to say what, you know, I mean they're, they're there, they're in a sort of a, you know, relatively ready to go state. So that's good. You know, time will tell. If this record gets roundly ignored then there probably isn't a big reason to do that.

        
        

        Now if this record goes through the roof then of course they're going to want to, you know, we'll be selling those DB's, licensed body bags and latrine shovels and things like that with our name on it. And of course we'll need other stuff so that may work out.

        
        

        Speaker A

        00:10:20.930 - 00:10:25.320

        The business structure of music is certainly not the same as it even five years ago.

        
        

        Speaker...]]>0e74ab90-13ef-4c7a-8774-dcf14d149623Fri, 16 Jan 2026 02:02:00 -040029:32truefull12231223Country Fried Rock 1225: Ray Wylie Hubbard on Groove and Grit, Life and LicksSummary

        From 2012: Ray Wiley Hubbard drops by Country Fried Rock to share some seriously insightful gems about his creative process and the evolution of his latest album, Grifter's Hymnal. He reveals how this record takes a refreshing dive into personal storytelling, flipping the usual songwriter's script by starting from a deeply personal place instead of widening the narrative as most do. As they riff about everything from his early days in the vibrant Dallas folk scene to the unique grooves he incorporates into his music, it’s clear that Ray’s got a knack for blending grit and groove, making the familiar feel fresh and alive. The conversation flows like a good jam session, touching on the importance of authenticity in songwriting, the thrill of performing, and how the right vibes in the studio can turn a collection of songs into something truly special. With Ray’s effortless charm and seasoned perspective, this episode is a must-listen for anyone looking to tap into the heart of musical creativity.

        Links

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

        
        

        • Ray Wylie Hubbard
        • You may also enjoy this conversation from 2012 with Dawes
        
        

        Show Notes

        Join us on a deep dive into the soulful, gritty world of legendary songwriter Ray Wylie Hubbard, as he opens up in a candid, story-filled episode of Country Fried Rock. This conversation is a rich blend of music history, personal reflection, and unfiltered authenticity from one of Americana’s true originals.

        In this episode, Ray Wylie Hubbard talks about:

        • The making of Grifter’s Hymnal
        • How this album marks a turn toward more personal songwriting, bucking the trend of writers moving away from their own stories.
        • From Virginia City to Austin
        • Reflections on how the contrast between snowy landscapes and Texas heat shaped his sound and perspective.
        • Sneaking into Dallas folk clubs
        • Stories from his youth, getting an early taste of blues greats like Lightnin’ Hopkins and Freddie King.
        • Musical camaraderie and collaboration
        • How friendships with icons like Jerry Jeff Walker and Michael Murphy helped ignite his songwriting journey.
        • The folk and blues scenes of the past
        • A vibrant look at the inclusive, genre-blending communities that helped raise his creative voice.
        • What makes a groove work
        • Why a solid groove is the foundation of his music, and how it guides the songwriting process.
        • Staying authentic in a changing industry
        • Thoughts on maintaining honesty and storytelling integrity over decades in music.
        • Connecting with a new generation
        • His take on how younger audiences find his music through streaming, and why legacy matters.
        
        

        Why you’ll want to listen:

        This episode is part memoir, part masterclass, and fully immersive. Hubbard doesn’t just recount his past, he brings it to life with humor, humility, and the unmistakable rhythm of a songwriter who’s still got stories to tell.

        For fans of:

        Americana, roots music, storytelling, Texas songwriters, and anyone chasing the groove.

        Listen now wherever you get your podcasts.

        Chapters

        • 00:09 - Introduction to Ray Wiley Hubbard
        • 01:41 - The Evolution of a Musician
        • 10:04 - The Transition to Production: A New Chapter in Music
        • 16:20 - Evolution of Musical Style
        • 23:24 - The Journey of Creativity
        • 27:40 - Beginning the Journey: A Story of Music and Memories
        
        

        Takeaways

        • Ray Wiley Hubbard shared how his personal experiences deeply influence his songwriting, flipping the usual narrative on its head.
        • The conversation revealed the unique blend of folk roots and blues that shape Hubbard's musical identity, showcasing a rich tapestry of influences.
        • Hubbard emphasized the importance of authenticity in music production, seeking to capture the genuine sound and feel of live performances.
        • The podcast highlighted the evolving audience for Hubbard's music, with younger fans discovering his work through modern platforms and connections.
        • A fascinating discussion arose around the collaborative nature of songwriting, where friendships often lead to unexpected creative partnerships and projects.
        • Hubbard's reflections on his journey through music and life underscore a broader narrative about resilience and the passion that fuels artistic expression.
        
        

        Mentioned in this Episode

        • Country Fried Rock
        • Ray Wiley Hubbard
        • Michael Murphey
        • Jerry Jeff Walker
        • B.W. Stevenson
        • Hayes Carll
        • Stevie Ray Vaughan
        • Fabulous Thunderbirds
        • Band of Heathens
        • Joe Walsh
        • 13th Floor Elevators
        • Ringo Starr
        • Alan Wolf
        • Lightning Hopkins
        • Freddie King
        • Mance Lipscomb
        • Nance Lipscomb
        • Mother Blues
        • Rubaiyat
        • Grifters Hymnal
        • George Reiff
        • Rick Richards
        • Deadbeat
        • Southern Rock
        • Cowboys
        • Loco Gringos
        • Small Faces
        • Fleetwood Mac
        
        

        Recommended If You Like

        country fried rock, Ray Wiley Hubbard, Americana music, songwriting process, folk music influences, Grifters Hymnal album, live music performance, producing music, Texas country music, blues music history, music inspiration, touring musicians, fingerpicking guitar technique, storytelling in songs, music collaboration, Austin music scene, songwriting tips, folk rock artists, music production techniques, songwriting evolution

        Transcript

        Speaker A

        00:00:00.800 - 00:00:13.040

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried rock music uncovered. My guest today on Country Fried Rock is Ray Wiley Hubbard. Welcome, Ray.

        Speaker B

        00:00:13.040 - 00:00:14.360

        I'm glad to be here. Thanks.

        
        

        Speaker A

        00:00:14.360 - 00:00:15.760

        Thank you so much for being with us.

        
        

        Speaker B

        00:00:15.840 - 00:00:17.360

        More than welcome. Looking forward to it.

        
        

        Speaker A

        00:00:17.920 - 00:00:22.240

        Appreciate you. Especially given that you've been driving through some fun early summertime snow.

        
        

        Speaker B

        00:00:22.320 - 00:00:39.180

        Yeah, we're up here in Virginia City and it's starting to snow. How weird is that? It's June. We started off the tour in Seattle and in Portland and Eugene and so we're working our way down. Oh, let's see.

        
        

        Santa Cruz and San Francisco and I think the Palms and Winter. So nice. Yeah, it's been. It's been a good tour.

        
        

        Speaker A

        00:00:39.260 - 00:00:50.380

        Nice. Well, I've been excited in listening to Grifters Hymnal for quite a while.

        
        

        And I have to say, when I first got it, I listened to it and I went, this is a lot more personal than most of the stuff that I've heard so far from Ray.

        
        

        Speaker B

        00:00:50.700 - 00:01:01.580

        Well, yeah, it. For. Somehow it just kind of turned out that way. I just kind of. These songs kind of just kind of seem to happen that way.

        
        

        And I just revealed a little bit more about myself and I probably should have.

        
        

        Speaker A

        00:01:03.290 - 00:01:18.330

        The reason it stuck out to me was in that for the most part, it kind of goes against what happens for most songwriters.

        
        

        Usually it starts personal and then eventually they run out of stuff to say about themselves, so then it goes to their wider circle of friends and then a character. But this is sort of going in the reverse.

        
        

        Speaker B

        00:01:18.810 - 00:01:40.940

        Well, yeah, I would have to say. So it just kind of.

        
        

        I kind of write kind of what I'm familiar with, which is, you know, a corsetin bottle for abusing as a slide and talk about guitars and amps. Lightning Hopkins and Freddie King and, you know.

        
        

        So I just kind of write about, you know, this record seem to be just kind of about what I seem comfortable with, I suppose.

        
        

        Speaker A

        00:01:41.260 - 00:01:44.220

        How did you get into music before you became a professional?

        
        

        Speaker B

        00:01:44.460 - 00:02:30.760

        Well, I started off in high school in Oak Cliff here. I was based near Dallas and I went to high school with Michael Murphy, who was now Michael Martin Murphy.

        
        

        He's kind of a cowboy poet, but he originally was in folk music and he was one of the first influences I had. And so I've been involved in folk music back in high school. And there was a little there in Dallas called the Rubaiyat, which was a folk music club.

        
        

        And I'd go see. Oh, God, you know, that's where I'd go see Nance Lipscomb play.

        
        

        And then there was another club there called Mother Blues where Lydon Hopkins played, and you go see Freddie King and then all these, you know, wonderful musicians. So I kind of got....]]>Summary

        From 2012: Ray Wiley Hubbard drops by Country Fried Rock to share some seriously insightful gems about his creative process and the evolution of his latest album, Grifter's Hymnal. He reveals how this record takes a refreshing dive into personal storytelling, flipping the usual songwriter's script by starting from a deeply personal place instead of widening the narrative as most do. As they riff about everything from his early days in the vibrant Dallas folk scene to the unique grooves he incorporates into his music, it’s clear that Ray’s got a knack for blending grit and groove, making the familiar feel fresh and alive. The conversation flows like a good jam session, touching on the importance of authenticity in songwriting, the thrill of performing, and how the right vibes in the studio can turn a collection of songs into something truly special. With Ray’s effortless charm and seasoned perspective, this episode is a must-listen for anyone looking to tap into the heart of musical creativity.

        Links

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

        
        

        • Ray Wylie Hubbard
        • You may also enjoy this conversation from 2012 with Dawes
        
        

        Show Notes

        Join us on a deep dive into the soulful, gritty world of legendary songwriter Ray Wylie Hubbard, as he opens up in a candid, story-filled episode of Country Fried Rock. This conversation is a rich blend of music history, personal reflection, and unfiltered authenticity from one of Americana’s true originals.

        In this episode, Ray Wylie Hubbard talks about:

        • The making of Grifter’s Hymnal
        • How this album marks a turn toward more personal songwriting, bucking the trend of writers moving away from their own stories.
        • From Virginia City to Austin
        • Reflections on how the contrast between snowy landscapes and Texas heat shaped his sound and perspective.
        • Sneaking into Dallas folk clubs
        • Stories from his youth, getting an early taste of blues greats like Lightnin’ Hopkins and Freddie King.
        • Musical camaraderie and collaboration
        • How friendships with icons like Jerry Jeff Walker and Michael Murphy helped ignite his songwriting journey.
        • The folk and blues scenes of the past
        • A vibrant look at the inclusive, genre-blending communities that helped raise his creative voice.
        • What makes a groove work
        • Why a solid groove is the foundation of his music, and how it guides the songwriting process.
        • Staying authentic in a changing industry
        • Thoughts on maintaining honesty and storytelling integrity over decades in music.
        • Connecting with a new generation
        • His take on how younger audiences find his music through streaming, and why legacy matters.
        
        

        Why you’ll want to listen:

        This episode is part memoir, part masterclass, and fully immersive. Hubbard doesn’t just recount his past, he brings it to life with humor, humility, and the unmistakable rhythm of a songwriter who’s still got stories to tell.

        For fans of:

        Americana, roots music, storytelling, Texas songwriters, and anyone chasing the groove.

        Listen now wherever you get your podcasts.

        Chapters

        • 00:09 - Introduction to Ray Wiley Hubbard
        • 01:41 - The Evolution of a Musician
        • 10:04 - The Transition to Production: A New Chapter in Music
        • 16:20 - Evolution of Musical Style
        • 23:24 - The Journey of Creativity
        • 27:40 - Beginning the Journey: A Story of Music and Memories
        
        

        Takeaways

        • Ray Wiley Hubbard shared how his personal experiences deeply influence his songwriting, flipping the usual narrative on its head.
        • The conversation revealed the unique blend of folk roots and blues that shape Hubbard's musical identity, showcasing a rich tapestry of influences.
        • Hubbard emphasized the importance of authenticity in music production, seeking to capture the genuine sound and feel of live performances.
        • The podcast highlighted the evolving audience for Hubbard's music, with younger fans discovering his work through modern platforms and connections.
        • A fascinating discussion arose around the collaborative nature of songwriting, where friendships often lead to unexpected creative partnerships and projects.
        • Hubbard's reflections on his journey through music and life underscore a broader narrative about resilience and the passion that fuels artistic expression.
        
        

        Mentioned in this Episode

        • Country Fried Rock
        • Ray Wiley Hubbard
        • Michael Murphey
        • Jerry Jeff Walker
        • B.W. Stevenson
        • Hayes Carll
        • Stevie Ray Vaughan
        • Fabulous Thunderbirds
        • Band of Heathens
        • Joe Walsh
        • 13th Floor Elevators
        • Ringo Starr
        • Alan Wolf
        • Lightning Hopkins
        • Freddie King
        • Mance Lipscomb
        • Nance Lipscomb
        • Mother Blues
        • Rubaiyat
        • Grifters Hymnal
        • George Reiff
        • Rick Richards
        • Deadbeat
        • Southern Rock
        • Cowboys
        • Loco Gringos
        • Small Faces
        • Fleetwood Mac
        
        

        Recommended If You Like

        country fried rock, Ray Wiley Hubbard, Americana music, songwriting process, folk music influences, Grifters Hymnal album, live music performance, producing music, Texas country music, blues music history, music inspiration, touring musicians, fingerpicking guitar technique, storytelling in songs, music collaboration, Austin music scene, songwriting tips, folk rock artists, music production techniques, songwriting evolution

        Transcript

        Speaker A

        00:00:00.800 - 00:00:13.040

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried rock music uncovered. My guest today on Country Fried Rock is Ray Wiley Hubbard. Welcome, Ray.

        Speaker B

        00:00:13.040 - 00:00:14.360

        I'm glad to be here. Thanks.

        
        

        Speaker A

        00:00:14.360 - 00:00:15.760

        Thank you so much for being with us.

        
        

        Speaker B

        00:00:15.840 - 00:00:17.360

        More than welcome. Looking forward to it.

        
        

        Speaker A

        00:00:17.920 - 00:00:22.240

        Appreciate you. Especially given that you've been driving through some fun early summertime snow.

        
        

        Speaker B

        00:00:22.320 - 00:00:39.180

        Yeah, we're up here in Virginia City and it's starting to snow. How weird is that? It's June. We started off the tour in Seattle and in Portland and Eugene and so we're working our way down. Oh, let's see.

        
        

        Santa Cruz and San Francisco and I think the Palms and Winter. So nice. Yeah, it's been. It's been a good tour.

        
        

        Speaker A

        00:00:39.260 - 00:00:50.380

        Nice. Well, I've been excited in listening to Grifters Hymnal for quite a while.

        
        

        And I have to say, when I first got it, I listened to it and I went, this is a lot more personal than most of the stuff that I've heard so far from Ray.

        
        

        Speaker B

        00:00:50.700 - 00:01:01.580

        Well, yeah, it. For. Somehow it just kind of turned out that way. I just kind of. These songs kind of just kind of seem to happen that way.

        
        

        And I just revealed a little bit more about myself and I probably should have.

        
        

        Speaker A

        00:01:03.290 - 00:01:18.330

        The reason it stuck out to me was in that for the most part, it kind of goes against what happens for most songwriters.

        
        

        Usually it starts personal and then eventually they run out of stuff to say about themselves, so then it goes to their wider circle of friends and then a character. But this is sort of going in the reverse.

        
        

        Speaker B

        00:01:18.810 - 00:01:40.940

        Well, yeah, I would have to say. So it just kind of.

        
        

        I kind of write kind of what I'm familiar with, which is, you know, a corsetin bottle for abusing as a slide and talk about guitars and amps. Lightning Hopkins and Freddie King and, you know.

        
        

        So I just kind of write about, you know, this record seem to be just kind of about what I seem comfortable with, I suppose.

        
        

        Speaker A

        00:01:41.260 - 00:01:44.220

        How did you get into music before you became a professional?

        
        

        Speaker B

        00:01:44.460 - 00:02:30.760

        Well, I started off in high school in Oak Cliff here. I was based near Dallas and I went to high school with Michael Murphy, who was now Michael Martin Murphy.

        
        

        He's kind of a cowboy poet, but he originally was in folk music and he was one of the first influences I had. And so I've been involved in folk music back in high school. And there was a little there in Dallas called the Rubaiyat, which was a folk music club.

        
        

        And I'd go see. Oh, God, you know, that's where I'd go see Nance Lipscomb play.

        
        

        And then there was another club there called Mother Blues where Lydon Hopkins played, and you go see Freddie King and then all these, you know, wonderful musicians. So I kind of got. That was kind of the beginning as I started off in the Folk Sing.

        
        

        And, you know, of course, you discover Dylan and those doors open up to Woody Guthrie and Jimmie Rogers and Lead Belly and all that. So that kind of was the beginning for me.

        
        

        Speaker A

        00:02:31.160 - 00:02:32.840

        Said the Mother Blues place was a real place.

        
        

        Speaker B

        00:02:33.080 - 00:03:06.660

        It was a real club there. And my wife Judy was the door girl there.

        
        

        We didn't know each other back in those days because I always came in the backstage door and she was 16, checking IDs at the front. It was just a really funky little kind of blues club.

        
        

        And everybody from Jimmy Buffett to Arsenal Lightning to all these kind of rock bands would come through and play. And it was just kind of a really good scene. You had the Rubaiyat, which was a folk scene.

        
        

        Then they had the Mother Blues, which kind of the rock blues scene. So I was just kind of a. I would sneak in both of them.

        
        

        Speaker A

        00:03:07.540 - 00:03:11.780

        Was the blues scene more inclusive then of people of all different backgrounds?

        
        

        Speaker B

        00:03:12.020 - 00:03:53.100

        Later on, of course, you know, there was the blues scene in Austin with the Fabulous Thunderbirds and Steve Ray and Jimmy Vaughn and Paula and the Cobras, and there was that scene there. But then kind of growing up in the 60s, it really wasn't that separate because all the blues guys would play in folk club now.

        
        

        It was kind of the folk revival. So I really didn't really see a difference, you know, like, that these guys were like blues singers playing in a folklore which is like.

        
        

        Well, these guys were just musicians and they were playing.

        
        

        So, yeah, it was, you know, like I say, I feel very fortunate to have seen Mance and Lightning and Freddie King and Ernest and Gary Stewart, some of these great performers. You know, I feel very fortunate seeing those guys.

        
        

        Speaker A

        00:03:53.420 - 00:03:59.340

        Like that song in particular, I guess it's a lot more straightforward storytelling, legitimate than.

        
        

        Speaker B

        00:03:59.950 - 00:04:05.870

        Oh, yeah, it's pretty much all probably 90% true. I did change one of the names.

        
        

        Speaker A

        00:04:05.950 - 00:04:06.350

        Sure.

        
        

        Speaker B

        00:04:06.430 - 00:04:34.990

        You know, of course, there were no innocent people, right. So I didn't change the name to protect the innocent. They were all guilty. But I did change a couple of names and just hedged on it a little bit.

        
        

        It's pretty much based on truth. Like I say, my wife Judy was a door girl there, and I would hang out there.

        
        

        And at that time, after the clubs would close, after hours, everybody would kind of sit around and Jam and play poker and all that stuff. So it was pretty close to the truth. Hey, everybody, this is Ray Wiley Hubbard on Country Fried Rock.

        
        

        Speaker A

        00:04:35.390 - 00:04:37.550

        At what point did you begin writing your own music?

        
        

        Speaker B

        00:04:38.030 - 00:05:27.120

        It was about that time right after high school. I was in a little folk group and we moved up to Red River, New Mexico, and I started writing songs back then, and it was just.

        
        

        It was a real good scene because at that time, there was the Kerrville Folk Festival, and I had an opportunity to meet, you know, guys like Jerry Jeff Walker and Michael Murphy and B.W. stevenson and some. And a lot of these. You know, the great thing about that, these guys were writing really great songs.

        
        

        It was just at that point I started writing. So it was probably. I wasn't that good at it, but I started it.

        
        

        And so, yeah, but it was, you know, like I said, you would see there, especially growing up in Austin, you would see Town Van Zant was playing these little small clubs there, and he kind of. He kind of set the bar, kind of set the plateau. Like, if you're going to be a songwriter, this is. You had. This is what you tried to aspire to.

        
        

        Speaker A

        00:05:27.520 - 00:05:41.200

        So then as that developed for you, the songs that you were writing for yourself, as you were still mostly enmeshed in the folk scene, how you ended up also having songs recorded by others, you know, was that intentional or was it that you became buddies with people that.

        
        

        Speaker B

        00:05:41.520 - 00:06:05.580

        To do with. With buddies. I didn't really, you know, have a Nashville publishing thing where I had people pitching my songs.

        
        

        You know, Jerry Jeff heard Redneck Mother and decided to record it, you know, and then, of course, Bobby Baird did it, and the new writers of the Purple Sage. And so it was just kind of mostly friends.

        
        

        You know, most any songs I've had recorded by other people, there have been people that I've known, you know, like when Ragweed did want to rock and roll.

        
        

        Speaker A

        00:06:05.740 - 00:06:06.140

        Right.

        
        

        Speaker B

        00:06:06.700 - 00:06:21.900

        Well, like, with music right now, most of the music that I really like are the songs and the musicians that are friends of mine, you know, that I know, you know, that I run around with Hayes, Carl Slade, please, McMurtry and Girthmorn. Those guys. Those, you know, they're my friends, and that's the music I like.

        
        

        Speaker A

        00:06:22.330 - 00:06:23.770

        When did you head back to Texas?

        
        

        Speaker B

        00:06:24.170 - 00:06:46.490

        Oh, gosh.

        
        

        Well, I always kind of had a couch to stay on in Austin, you know, and with few friends there, and so that was just kind of between New Mexico and Austin, moved back to Oak Cliff and Austin in that area probably back in the 70s. But I was just. I was still pretty much a working musician and traveling and playing, you know, kind of a transient musician.

        
        

        Speaker A

        00:06:46.490 - 00:07:00.950

        I suppose as that time evolved for you and you headed back and had your own couch to crash on in Texas, you started getting involved with some other different ways of being in music. And how did that develop?

        
        

        Speaker B

        00:07:01.670 - 00:08:25.370

        Just really briefly, you know, like I say, I really. I became serious about my songwriting when I was 41. I cleaned up my act and started wanting to be a real songwriter.

        
        

        So I actually took guitar lessons to learn how to finger pick. And it's at 41. Yeah.

        
        

        And so then I started kind of writing more the little more, oh, what they call now, I guess, Americana or alt country or, you know, those types of songs.

        
        

        And I'd always been a folk singer, but then when Willie and Jerry, Jeff and all those guys, you know, there was a big Austin outlaw explosion, kind of guilt by association. I kind of got wrote Redneck Mother and Jerry recorded, kind of guilt by association. Kind of thrown into that outlaw country.

        
        

        But still in my heart, I was still. I thought of myself as a folk singer. And so then later on in my 40s, I really wanted to learn how to, you know, finger prick and get into that.

        
        

        So I took lessons and started writing, took it into a different direction. And then through that, I met people like Gerf Morlux and Lloyd Mains, and they really were instrumental in learning how to produce.

        
        

        And so then at that opportunity, then had a chance to work with the band of Heathens on their first record. They asked me to produce the record because they pretty much liked the grit and the groove that the records I'd had up to then.

        
        

        And so it was just, like, I say it was more of a friendship thing, you know, because I've seen the band of Heathens play and love, and we were just hanging out and they said, we want you to produce a record. Okay, let's do it. So we went in there and it was, you know, getting tone right and the groove, and it was really fun. And then.

        
        

        And I just, you know, kind of fell into it.

        
        

        Speaker A

        00:08:25.370 - 00:08:42.170

        I talked with Gordy about that earlier this year, and he was saying, you know, they had put out those two live records first, and so they were kind of like, yeah, we're just going to be a live band. I don't know if we can pull it off in the studio. Having a friend be the one to be like, yeah, let's do this. Let's.

        
        

        Let's get that groove really made it easier for them.

        
        

        Speaker B

        00:08:42.810 - 00:09:02.310

        Going in the studio is a different animal than life. So we Went in there and I feel very fortunate. We just, you know, they're such. They had the songs and they had the vocal ability, had the chops.

        
        

        Then it was just make sure that we got the right M mics and the right sound and the right guitars and the right tone and all that. So, yeah, I was very, very, very proud of that record and those guys.

        
        

        Speaker A

        00:09:02.390 - 00:09:17.830

        Just using that one as an example and. But when you're looking at bringing a band, especially one with a great live, They've just got it together live and they started that way.

        
        

        That's their thing. How do you get into the studio and still help bring the feeling of who they are?

        
        

        Speaker B

        00:09:18.070 - 00:10:04.710

        Well, I told them, I said, when we go in, we're going to cut this record. When we mix...]]>bfec0e9a-de86-447c-be08-73cde0ec6460Fri, 09 Jan 2026 02:02:00 -040029:59truefull12251225Country Fried Rock 1221: Lake Street Dive's Bridget Kearney, Behind the BeatsSummary

        From 2012: Bridget Kearney from Lake Street Dive kicks things off with a deep dive into the roots of her musical journey, revealing that her love for the upright bass began way back in fourth grade, and man, did she hit the ground running! The crew chats about how their eclectic influences and early jam sessions morphed into a unique sound that blends pop, jazz, and a sprinkle of funk, with plenty of witty banter about their less-than-stellar beginnings. They dish on their songwriting process, a mix of personal experimentation and collaborative magic, with each member bringing their own flavor to the table, all while enjoying the ride together. As they gear up for their next album, the excitement is palpable, with plans to capture the energy of their live shows and bring a fresh vibe to their music, promising a blend of whimsy and a touch more maturity in their lyrics. Tune in and catch the good vibes as they share stories, laughs, and a sneak peek into what’s brewing for Lake Street Dive!

        Links

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

        
        

        • Bridget Kearney
        • Lake Street Dive
        • You may also enjoy this conversation from 2015 with T. Hardy Morris
        
        

        Show Notes

        In this episode of Country Fried Rock, we sit down with Bridget Kearney, upright bassist of Lake Street Dive, for a heartfelt and candid conversation about music, creativity, and the band's evolution. Bridget opens the door to her musical journey and shares how the band found its unique groove.

        What You’ll Hear in This Episode:

        • Bridget’s musical roots:
        • Her first experiences with music in a school orchestra
        • The impact of growing up in a supportive, music-loving family
        • How singing in church choirs nurtured her early love for songwriting
        • 
          
        • The formation of Lake Street Dive:
        • A chance meeting at the New England Conservatory that sparked a band
        • Navigating the early days, from basement rehearsals to local Boston gigs
        • How their friendship became the glue that held them together through growing pains
        • 
          
        • Finding their sound:
        • Melding jazz, pop, soul, and a touch of vintage flair
        • Realizing the value of their eclectic influences and making it work
        • Moments that marked a turning point in their identity as a band
        • 
          
        • Inside the creative process:
        • How the band approaches collaborative songwriting
        • The push-and-pull of differing ideas and how it strengthens their music
        • Personal anecdotes that shape their lyrics and arrangements
        • 
          
        • Reflections on growth and connection:
        • From small clubs to major stages: what’s changed, and what’s stayed the same
        • Why their music continues to resonate with a broad and diverse audience
        • The joy of creating music with people you trust and admire
        
        

        Why You Should Listen:

        This episode isn’t just about music; it’s about connection, persistence, and the beauty of creative collaboration. Whether you're an aspiring musician, a longtime fan, or just someone who loves a good story, Bridget’s insights and the journey of Lake Street Dive offer inspiration and a deeper appreciation for the art behind the sound.

        Listen now and step inside the rhythm and soul of Lake Street Dive.

        Chapters

        • 00:09 - Introduction to Lake Street Dive
        • 06:51 - Formation of Lake Street Dive
        • 15:11 - The Evolution of Sound and Style
        • 16:50 - The Evolution of Lake Street Dive's Sound
        • 25:44 - The Next Recording Process
        
        

        Takeaways

        • The band Lake Street Dive originated from casual college jam sessions, evolving into a tight-knit group through friendship and shared experiences.
        • Bridget, a member of Lake Street Dive, emphasizes the importance of early exposure to music for developing creativity and songwriting skills.
        • Their musical journey reflects a transition from jazz roots to pop influences, showcasing adaptability in their sound and performance styles.
        • The upcoming album aims for a more collaborative production process, highlighting the band's growth and desire for a cohesive creative direction.
        • Rachel Price notes that the lyrics in their new material will lean towards more mature themes while still retaining a sense of whimsy and fun.
        • Their live performances have become a crucial element of their identity, as they strive to create an engaging atmosphere that resonates with audiences.
        
        

        Recommended If You Like

        Country Fried Rock, Lake Street Dive interview, music creativity, songwriting process, musicianship inspiration, jazz band evolution, Boston music scene, pop music influences, live music performance, band dynamics, music education, indie music culture, songwriting collaboration, music production techniques, live concert recording, folk and pop fusion, contemporary jazz influences, band formation story, music career development, Lake Street Dive new album

        Transcript

        Speaker A

        00:00:00.800 - 00:00:14.960

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guests today on Country Fried Rock are various members of the band Lake Street Dive.

        Welcome to Country Fried Rock.

        Speaker B

        00:00:14.960 - 00:00:15.600

        Thank you.

        
        

        Speaker A

        00:00:15.680 - 00:00:18.160

        So we've got Bridget for the moment. Thanks for being with us.

        
        

        Speaker B

        00:00:18.160 - 00:00:19.360

        Yeah, thanks for having us.

        
        

        Speaker A

        00:00:19.360 - 00:00:21.200

        Have you always been an upright bass player?

        
        

        Speaker B

        00:00:21.200 - 00:00:31.390

        Yes. I started on upright bass when I was in fourth grade and never really spoke. Switch to electric.

        
        

        I've experimented with the electric, but I'm pretty awful at it.

        
        

        Speaker A

        00:00:32.350 - 00:00:33.710

        So was that like, school band?

        
        

        Speaker B

        00:00:33.790 - 00:00:35.070

        Yeah, school orchestra.

        
        

        Speaker A

        00:00:35.310 - 00:00:37.310

        Did you get to choose it or was that assigned?

        
        

        Speaker B

        00:00:37.390 - 00:00:53.470

        Well, no, I chose it. The school orchestra started a year before the school band, so originally I wanted to play the drums.

        
        

        I was really excited about playing an instrument, so I wanted to get started as soon as possible. And orchestra was what there was in fourth grade, so I picked the bass.

        
        

        Speaker A

        00:00:53.620 - 00:00:56.020

        Gotcha. So what kind of stuff were y' all playing?

        
        

        Speaker B

        00:00:56.420 - 00:01:02.020

        Pachelbel's Canon. Let's see a Shokin Farewell as a.

        
        

        Speaker A

        00:01:02.020 - 00:01:04.660

        Fourth grader, you know, like, Pachelbel's Canon spoke to you?

        
        

        Speaker B

        00:01:06.020 - 00:01:24.260

        Yeah, I guess it did. I mean, I guess I was mostly just excited about learning an instrument.

        
        

        And then as I got into, like, junior high and high school, started playing more different styles of music. I had a rock band called Metro Pilot, and I had in the school jazz band as well, and I had a band called Sax Attacked.

        
        

        Speaker A

        00:01:24.260 - 00:01:25.460

        Were y' all writing your own music?

        
        

        Speaker B

        00:01:25.780 - 00:01:47.620

        Yeah, I started writing music. I guess I started writing music on the piano when I was pretty young. Like, probably maybe even before I started playing the bass.

        
        

        Then in junior high, with the rock band, I started writing, you know, pop songs, lyrics and everything. I've always felt lucky that I started doing that early because I got some of the really bad ones out of the way.

        
        

        Speaker A

        00:01:48.370 - 00:01:55.810

        I'm just curious. I haven't had a lot of people who started writing that early. What was prompting you internally to write at that point?

        
        

        Speaker B

        00:01:56.210 - 00:02:13.810

        I mean, I think I just was really into music. Like, the youngest songs that I wrote.

        
        

        You know, I was just kind of, like, sitting at the piano and liked coming up with things that sounded good to me, which is, like, to this day, kind of the way that I approach songwriting is sitting down with an instrument and trying to come up with something that I would want to listen to myself.

        
        

        Speaker C

        00:02:13.890 - 00:02:14.050

        And.

        
        

        Speaker B

        00:02:14.200 - 00:02:25.440

        And so I think it was just the, like, excitement of experimentation and also of, like, coming up with something that sounded good to me. And then I hear people humming, and I hummed myself. And I was like, wow, I invented.

        
        

        Speaker A

        00:02:25.440 - 00:02:32.200

        That, you know, Were you being influenced by things that you were listening to at that point, or was it always just something that came...]]>Summary

        From 2012: Bridget Kearney from Lake Street Dive kicks things off with a deep dive into the roots of her musical journey, revealing that her love for the upright bass began way back in fourth grade, and man, did she hit the ground running! The crew chats about how their eclectic influences and early jam sessions morphed into a unique sound that blends pop, jazz, and a sprinkle of funk, with plenty of witty banter about their less-than-stellar beginnings. They dish on their songwriting process, a mix of personal experimentation and collaborative magic, with each member bringing their own flavor to the table, all while enjoying the ride together. As they gear up for their next album, the excitement is palpable, with plans to capture the energy of their live shows and bring a fresh vibe to their music, promising a blend of whimsy and a touch more maturity in their lyrics. Tune in and catch the good vibes as they share stories, laughs, and a sneak peek into what’s brewing for Lake Street Dive!

        Links

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

        
        

        • Bridget Kearney
        • Lake Street Dive
        • You may also enjoy this conversation from 2015 with T. Hardy Morris
        
        

        Show Notes

        In this episode of Country Fried Rock, we sit down with Bridget Kearney, upright bassist of Lake Street Dive, for a heartfelt and candid conversation about music, creativity, and the band's evolution. Bridget opens the door to her musical journey and shares how the band found its unique groove.

        What You’ll Hear in This Episode:

        • Bridget’s musical roots:
        • Her first experiences with music in a school orchestra
        • The impact of growing up in a supportive, music-loving family
        • How singing in church choirs nurtured her early love for songwriting
        • 
          
        • The formation of Lake Street Dive:
        • A chance meeting at the New England Conservatory that sparked a band
        • Navigating the early days, from basement rehearsals to local Boston gigs
        • How their friendship became the glue that held them together through growing pains
        • 
          
        • Finding their sound:
        • Melding jazz, pop, soul, and a touch of vintage flair
        • Realizing the value of their eclectic influences and making it work
        • Moments that marked a turning point in their identity as a band
        • 
          
        • Inside the creative process:
        • How the band approaches collaborative songwriting
        • The push-and-pull of differing ideas and how it strengthens their music
        • Personal anecdotes that shape their lyrics and arrangements
        • 
          
        • Reflections on growth and connection:
        • From small clubs to major stages: what’s changed, and what’s stayed the same
        • Why their music continues to resonate with a broad and diverse audience
        • The joy of creating music with people you trust and admire
        
        

        Why You Should Listen:

        This episode isn’t just about music; it’s about connection, persistence, and the beauty of creative collaboration. Whether you're an aspiring musician, a longtime fan, or just someone who loves a good story, Bridget’s insights and the journey of Lake Street Dive offer inspiration and a deeper appreciation for the art behind the sound.

        Listen now and step inside the rhythm and soul of Lake Street Dive.

        Chapters

        • 00:09 - Introduction to Lake Street Dive
        • 06:51 - Formation of Lake Street Dive
        • 15:11 - The Evolution of Sound and Style
        • 16:50 - The Evolution of Lake Street Dive's Sound
        • 25:44 - The Next Recording Process
        
        

        Takeaways

        • The band Lake Street Dive originated from casual college jam sessions, evolving into a tight-knit group through friendship and shared experiences.
        • Bridget, a member of Lake Street Dive, emphasizes the importance of early exposure to music for developing creativity and songwriting skills.
        • Their musical journey reflects a transition from jazz roots to pop influences, showcasing adaptability in their sound and performance styles.
        • The upcoming album aims for a more collaborative production process, highlighting the band's growth and desire for a cohesive creative direction.
        • Rachel Price notes that the lyrics in their new material will lean towards more mature themes while still retaining a sense of whimsy and fun.
        • Their live performances have become a crucial element of their identity, as they strive to create an engaging atmosphere that resonates with audiences.
        
        

        Recommended If You Like

        Country Fried Rock, Lake Street Dive interview, music creativity, songwriting process, musicianship inspiration, jazz band evolution, Boston music scene, pop music influences, live music performance, band dynamics, music education, indie music culture, songwriting collaboration, music production techniques, live concert recording, folk and pop fusion, contemporary jazz influences, band formation story, music career development, Lake Street Dive new album

        Transcript

        Speaker A

        00:00:00.800 - 00:00:14.960

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guests today on Country Fried Rock are various members of the band Lake Street Dive.

        Welcome to Country Fried Rock.

        Speaker B

        00:00:14.960 - 00:00:15.600

        Thank you.

        
        

        Speaker A

        00:00:15.680 - 00:00:18.160

        So we've got Bridget for the moment. Thanks for being with us.

        
        

        Speaker B

        00:00:18.160 - 00:00:19.360

        Yeah, thanks for having us.

        
        

        Speaker A

        00:00:19.360 - 00:00:21.200

        Have you always been an upright bass player?

        
        

        Speaker B

        00:00:21.200 - 00:00:31.390

        Yes. I started on upright bass when I was in fourth grade and never really spoke. Switch to electric.

        
        

        I've experimented with the electric, but I'm pretty awful at it.

        
        

        Speaker A

        00:00:32.350 - 00:00:33.710

        So was that like, school band?

        
        

        Speaker B

        00:00:33.790 - 00:00:35.070

        Yeah, school orchestra.

        
        

        Speaker A

        00:00:35.310 - 00:00:37.310

        Did you get to choose it or was that assigned?

        
        

        Speaker B

        00:00:37.390 - 00:00:53.470

        Well, no, I chose it. The school orchestra started a year before the school band, so originally I wanted to play the drums.

        
        

        I was really excited about playing an instrument, so I wanted to get started as soon as possible. And orchestra was what there was in fourth grade, so I picked the bass.

        
        

        Speaker A

        00:00:53.620 - 00:00:56.020

        Gotcha. So what kind of stuff were y' all playing?

        
        

        Speaker B

        00:00:56.420 - 00:01:02.020

        Pachelbel's Canon. Let's see a Shokin Farewell as a.

        
        

        Speaker A

        00:01:02.020 - 00:01:04.660

        Fourth grader, you know, like, Pachelbel's Canon spoke to you?

        
        

        Speaker B

        00:01:06.020 - 00:01:24.260

        Yeah, I guess it did. I mean, I guess I was mostly just excited about learning an instrument.

        
        

        And then as I got into, like, junior high and high school, started playing more different styles of music. I had a rock band called Metro Pilot, and I had in the school jazz band as well, and I had a band called Sax Attacked.

        
        

        Speaker A

        00:01:24.260 - 00:01:25.460

        Were y' all writing your own music?

        
        

        Speaker B

        00:01:25.780 - 00:01:47.620

        Yeah, I started writing music. I guess I started writing music on the piano when I was pretty young. Like, probably maybe even before I started playing the bass.

        
        

        Then in junior high, with the rock band, I started writing, you know, pop songs, lyrics and everything. I've always felt lucky that I started doing that early because I got some of the really bad ones out of the way.

        
        

        Speaker A

        00:01:48.370 - 00:01:55.810

        I'm just curious. I haven't had a lot of people who started writing that early. What was prompting you internally to write at that point?

        
        

        Speaker B

        00:01:56.210 - 00:02:13.810

        I mean, I think I just was really into music. Like, the youngest songs that I wrote.

        
        

        You know, I was just kind of, like, sitting at the piano and liked coming up with things that sounded good to me, which is, like, to this day, kind of the way that I approach songwriting is sitting down with an instrument and trying to come up with something that I would want to listen to myself.

        
        

        Speaker C

        00:02:13.890 - 00:02:14.050

        And.

        
        

        Speaker B

        00:02:14.200 - 00:02:25.440

        And so I think it was just the, like, excitement of experimentation and also of, like, coming up with something that sounded good to me. And then I hear people humming, and I hummed myself. And I was like, wow, I invented.

        
        

        Speaker A

        00:02:25.440 - 00:02:32.200

        That, you know, Were you being influenced by things that you were listening to at that point, or was it always just something that came from inside?

        
        

        Speaker B

        00:02:32.440 - 00:02:52.080

        And I was listening to mostly, like, the stuff that my parents were listening to. You know, pop songwriters, folk songwriters. I guess, like, Paul Simon was always around. The Beatles were always around.

        
        

        Probably there were some influences from, like, the top 40 radio stations that I was listening to, although I prefer not to claim them.

        
        

        Speaker A

        00:02:52.480 - 00:02:56.000

        There was also family support for creating music.

        
        

        Speaker B

        00:02:56.320 - 00:03:21.610

        Yeah, totally. Yeah. We all started taking piano lessons when we were in kindergarten, and we, you know, sang in the church choir and stuff.

        
        

        So there was music around the house a lot.

        
        

        I think that's definitely an important factor in just, like, being excited about music and also having your ears develop sort of, like, without you even doing any work. You become a better musician if you're listening to music and it's around your environment.

        
        

        Speaker A

        00:03:22.090 - 00:03:23.610

        What kind of church choir?

        
        

        Speaker B

        00:03:23.770 - 00:03:50.100

        The Lutheran church. And actually my church had three or four separate choirs. There was, like, Cherub Choir, which was, I think, even pre kindergarten.

        
        

        You could start singing in the church choir. And then there was junior choir, senior choir, choristers. And we would sing, like, I don't know, just things that were adapted for church choir.

        
        

        But there was, like, four parts. It was definitely a good introduction to, like, singing melodies.

        
        

        Speaker A

        00:03:50.420 - 00:03:55.140

        At what point did it become obvious to you that this was going to be what you were going to pursue?

        
        

        Speaker B

        00:03:55.540 - 00:04:49.870

        Guess it was, like, my main interest starting in junior high or high school. And I also, like, wanted to be a musician since I was very young. You know, again, like, as soon as I started playing, although it's like the sort of.

        
        

        At that time, it was like saying I wanted to be a fireman or an astronaut. But, you know, it just happened to be the thing that I clung to from, you know, very young.

        
        

        And then, you know, I went to college for English and for music. So, I mean, even at that point, I wasn't, like, totally sold that it was all going to work out.

        
        

        I think a big part of what helped me to make the jump to, like, being professional musician was just meeting a lot of other professional musicians, like, through my college professors, different musicians that I would go see playing around Boston and New York. You know, there's definitely some, like, good role models that I would see.

        
        

        Mostly, I guess, peers that were slightly older than me, where I was like, wow, you can really actually do this.

        
        

        Speaker A

        00:04:50.190 - 00:04:54.110

        With double majoring with English. Did that influence the type of writing that you were doing?

        
        

        Speaker B

        00:04:54.350 - 00:05:08.600

        I've never been a really cerebral lyricist. Or at least I don't think of myself that way.

        
        

        So, you know, I. I've never, like, sat down with super academic type of goals for, like, the piece that I was writing.

        
        

        Speaker A

        00:05:08.680 - 00:05:09.720

        Sure, sure.

        
        

        Speaker B

        00:05:09.720 - 00:05:28.070

        Like I said earlier, I kind of sit down and try to come up with something that I would like listening to. But I think the education that I got from an English department informed my writing in a way that's kind of subconscious.

        
        

        Like, words a lot and like reading. Do a lot of reading to this day. And I think those things come out.

        
        

        Speaker A

        00:05:28.070 - 00:05:38.750

        In the songs as you were able to get out and about when you were in school, and particularly with the Boston and New York with such great opportunity to hear people. Where did that lead for you?

        
        

        Speaker B

        00:05:39.390 - 00:06:01.940

        Well, I moved to New York as soon as I finished college. And at the time, I was kind of thinking that I wanted to move there to pick up some extra work as, like, a side musician, as a bass player.

        
        

        You know, that's oftentimes, like, a good thing to do to supplement your own sort of creative endeavors is play in other people's projects. Everybody's always looking for a bass player.

        
        

        Speaker A

        00:06:02.100 - 00:06:02.660

        Yep.

        
        

        Speaker B

        00:06:03.140 - 00:06:43.270

        Just the way that things sort of worked out. It ended up that the two bands that I sort of play with almost full time right now were the ones that I was already in before I moved to New York.

        
        

        Lake Street Dive. We started playing together our sophomore year of college. And, like, when I moved to New York, that wasn't even, like, close to full time.

        
        

        We were playing maybe, I don't know, 40 gigs a year or so.

        
        

        And things have just grown in a really nice way where, like, sort of unexpectedly, you know, I am making my living, like, completely off of bands that I am writing for and, you know, started and have seen from the ground up. That was really exciting to watch that all happen.

        
        

        Speaker C

        00:06:43.590 - 00:06:51.350

        Hey, this is Rachel Price from Lake Street Dive. And if you want to know some more about us, check us out@www.lakestreetdive.com.

        
        

        Speaker A

        00:06:51.830 - 00:06:55.190

        So how did you all come together as Lake Street Dive then in school?

        
        

        Speaker B

        00:06:55.510 - 00:07:02.310

        Well, maybe this is a good point to pass you off to Mike Olson. He is the founder of our band. He'll tell you that story.

        
        

        Speaker D

        00:07:02.550 - 00:07:04.550

        I love this story. This is Mike Olson.

        
        

        Speaker A

        00:07:04.550 - 00:07:07.230

        Hey, Mike Olson. I'm Sloan Spencer. Welcome to Country Fried Rock.

        
        

        Speaker D

        00:07:07.230 - 00:07:08.750

        Hi. Thank you very much for having us.

        
        

        Speaker A

        00:07:08.750 - 00:07:13.510

        We're thrilled to have you. All right, so just from seeing you all live, I know that you all have two mics in the band.

        
        

        Speaker D

        00:07:13.590 - 00:07:17.190

        We do have two mics, which is. I'm the yellow mic. That's right. The other one is Brown Mike.

        
        

        Speaker A

        00:07:17.190 - 00:07:20.390

        Okay. We have Yellow Mike and Brown Mike. And Yellow Mike also plays the horns.

        
        

        Speaker D

        00:07:20.720 - 00:07:21.200

        That's true.

        
        

        Speaker A

        00:07:21.280 - 00:07:25.360

        The question was, how did you all end up getting together then as a band in college?

        
        

        Speaker D

        00:07:25.760 - 00:07:44.720

        It was just totally like. I mean, it was more or less an accident. I knew all three of the other members as either friends or friends of friends.

        
        

        The really cool thing about NEC was that New England Conservatory where we went to college. That you could essentially walk up to anyone and say, hey, you want to play? And they would always say, yes.

        
        

        That was really, like, the coolest thing about it.

        
        

        Speaker A

        00:07:44.720 - 00:07:45.440

        That is cool.

        
        

        Speaker D

        00:07:45.520 - 00:08:25.960

        Yeah. So it was essentially just that, seeing them in the halls and saying, hey, when are you free to hang out and do some playing?

        
        

        You know, we picked a room and sat down and just began. And it was pretty inauspicious, really, at the beginning, because it was kind of an odd instrumentation. Drums, bass, trumpet, voice.

        
        

        And really, in all frankness, wasn't cool or good.

        
        

        And so it was, you know, if I could somehow step through an ethereal door into the past and visit us that day with my thumbs up, I kind of wish I'd be able to do that. Because there was no indication that we would be good in that first day or month or first year.

        
        

        Speaker A

        00:08:26.040 - 00:08:27.320

        So why did you keep at it?

        
        

        Speaker D

        00:08:28.360 - 00:08:32.680

        That's a good question. Well, we're really good friends, which I think helps.

        
        

        Speaker E

        00:08:32.680 - 00:08:33.160

        Yeah.

        
        

        Speaker D

        00:08:33.240 - 00:09:11.640

        Because if we had been, like, intolerant or hostile towards one another, the fact that the music wasn't very good wouldn't have helped. But fortunately, we just purely and simply enjoy one another's company.

        
        

        And over time, as the music improved, it was kind of like the icing on the cake, which is maybe backward from the model that a lot of other bands experience, you know, good music, and then they become friends over time. You know, it's probably unrealistic to think that we would still be playing awful music because we're such good friends after eight years.

        
        

        But fortunately, thank God, the music improved. And so we can sort of hug one another after the gig and hug our fans.

        
        

        Speaker A

        00:09:11.800 - 00:09:20.920

        When you all were going from what you describe as not very good to where you are now, how did the sound itself develop? Because it's become something very...]]>b760f68c-44bc-4a51-ae4b-36c09fd2b769Fri, 09 Jan 2026 02:02:00 -040031:42truefull12211221The Regulars: Charles Hale of Driver 8 Records and Ajax Diner Book Club - Dive Bar Music ClubSummary

        We're diving deep into the world of independent music with Fort Collins, Colorado's very own Charles Hale, the mastermind behind Driver 8 Records and Ajax Diner Book Club. Charles is not just your average record store owner; he's a long-time community radio host and a passionate music advocate who believes that it’s all about taste, not trends. In our chat, we explore his journey from a curious high schooler raising his hand to get on the airwaves, to opening a boutique record store that fills a much-needed gap in his community. We reminisce about some legendary dive bars where the music flows as freely as the drinks, and Charles shares tales of unforgettable performances that remind us of the magic of live music. So grab your drink of choice, kick back, and let’s get to know the man behind the records and the radio waves, because this is all about the vibe, folks!

        Bio

        Show Notes

        In this episode, we dive straight in with Charles Hale, the creative force behind Driver 8 Records and the Ajax Diner Book Club on KRFC radio. From spinning records on college radio to opening one of the city’s most beloved record stores, Charles shares the story of how passion, persistence, and community came together to build something truly special.

        What You’ll Hear in This Episode

        1. The origin story of Driver 8 Records: How Charles turned a community need into a thriving record store that opened its doors in July 2022.
        2. Behind the business plan: A year and a half of late nights, coffee-fueled brainstorming sessions, and the moment he knew it was time to take the leap.
        3. Curating with heart: Why Driver 8 isn’t just about selling vinyl; it’s about creating a space where music lovers can discover something meaningful.
        4. From radio to records: Charles’ journey from a volunteer college DJ to hosting a Friday afternoon radio show that celebrates his deep love for sound and storytelling.
        5. Doing the “unfun work”: The lessons learned along the way about persistence, preparation, and embracing every part of the creative grind.
        6. A tour through musical memories: Stories from dive bars and venues that shaped his appreciation for live music, like the Parish Baker Pub in Oxford, Mississippi, and Surfside 7 in Fort Collins.
        7. Community at the core: How local scenes, shared spaces, and a good setlist can bring people together in lasting ways.
        
        

        Why You’ll Love This Episode:

        It’s an honest, inspiring, and down-to-earth chat that reminds us why independent music, and the people who champion it, matter so much. Whether you’re a crate digger, a small business dreamer, or just someone who loves a good story about following your heart, this one’s for you.

        Listen now to hear how Charles Hale built more than a record store; he built a community around the joy of music.

        Links

        1. Get to know the rest of the Regulars
        2. You might also like our other podcasts, Sleep with Rock Stars or Country Fried Rock
        3. Toss a few coins in our Tip Jar!
        
        

        Chapters

        1. 00:12 - Introducing Charles Hale: A Music Enthusiast
        2. 01:10 - Starting a Record Store: Charles Hale's Journey
        3. 02:49 - Journey into Radio and Writing
        4. 05:11 - Exploring Music Venues
        5. 06:01 - Music Venues Across America
        6. 06:59 - Introduction to Dive Bar Music Club
        
        

        Takeaways

        1. Charles Hale's journey into music began with a simple act of raising his hand, showcasing how opportunities can arise from just a willingness to volunteer.
        2. At Driver 8 Records, we embrace a philosophy of taste over trends, ensuring that our selection resonates with true music aficionados.
        3. Community radio plays a vital role in nurturing local music scenes, providing a platform for emerging artists and fostering connections among fans.
        4. Dive bars like Surfside 7 in Colorado and Parish Baker Pub in Mississippi create intimate settings where unforgettable live music experiences thrive.
        5. The essence of a boutique record store lies in its unique curation, where each vinyl tells a story and connects listeners to the heart of music culture.
        6. Engaging with music on multiple fronts—from retail to radio—allows for a richer connection to the art form and strengthens community bonds.
        
        

        Mentioned in this Episode

        1. Driver 8 Records
        2. Ajax Diner Book Club
        3. Nine Bullets blog
        4. KRFC radio
        5. Fort Collins, Colorado
        6. Oxford, Mississippi
        
        

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

        , dive bar music, independent music podcast, Charles Hale interview, Fort Collins record store, Driver 8 Records, community radio, music fans, boutique record shop, music culture, vinyl records, music venues, live music experiences, music industry insights, radio show host, music recommendations, music community, emerging artists, music nerds, local music scene, record store owner

        Transcript

        Speaker A

        00:00:00.640 - 00:00:41.100

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

        This week, we're featuring one of the regulars, Fort Collins, Colorado, record store owner Charles Hale of Driver 8 Records and Ajax Diner Book Club. Hale has spent years in community radio. In the retail end of a boutique record shop, we're not about trends. We're all about taste.

        Part hang, part deep dive, part time machine. So grab a drink, slide into the booth, and get to know Charles Hale, one of our regulars on Dive Bar Music Club.

        Speaker B

        00:00:41.340 - 00:00:47.740

        So, Charles Hale, I sure appreciate you being part of Dive Bar Music Club. What have you been up to in the world of music these days?

        
        

        Speaker C

        00:00:48.220 - 00:01:08.160

        So it's every day I go to work, which is owning a record store. So every day I'm surrounded by music. And every week I host a radio show.

        
        

        So I'm throughout the week thinking about what I want to play, how I want to put it together for my Friday afternoon radio show.

        
        

        Speaker B

        00:01:08.400 - 00:01:10.320

        Tell me a little bit more about your record store.

        
        

        Speaker C

        00:01:10.560 - 00:01:45.770

        So the record store opened in July of 2022. I decided about a year and a half before then that I wanted to open a record store.

        
        

        I thought Fort Collins needed a better record store or a...]]>Summary

        We're diving deep into the world of independent music with Fort Collins, Colorado's very own Charles Hale, the mastermind behind Driver 8 Records and Ajax Diner Book Club. Charles is not just your average record store owner; he's a long-time community radio host and a passionate music advocate who believes that it’s all about taste, not trends. In our chat, we explore his journey from a curious high schooler raising his hand to get on the airwaves, to opening a boutique record store that fills a much-needed gap in his community. We reminisce about some legendary dive bars where the music flows as freely as the drinks, and Charles shares tales of unforgettable performances that remind us of the magic of live music. So grab your drink of choice, kick back, and let’s get to know the man behind the records and the radio waves, because this is all about the vibe, folks!

        Bio

        Show Notes

        In this episode, we dive straight in with Charles Hale, the creative force behind Driver 8 Records and the Ajax Diner Book Club on KRFC radio. From spinning records on college radio to opening one of the city’s most beloved record stores, Charles shares the story of how passion, persistence, and community came together to build something truly special.

        What You’ll Hear in This Episode

        1. The origin story of Driver 8 Records: How Charles turned a community need into a thriving record store that opened its doors in July 2022.
        2. Behind the business plan: A year and a half of late nights, coffee-fueled brainstorming sessions, and the moment he knew it was time to take the leap.
        3. Curating with heart: Why Driver 8 isn’t just about selling vinyl; it’s about creating a space where music lovers can discover something meaningful.
        4. From radio to records: Charles’ journey from a volunteer college DJ to hosting a Friday afternoon radio show that celebrates his deep love for sound and storytelling.
        5. Doing the “unfun work”: The lessons learned along the way about persistence, preparation, and embracing every part of the creative grind.
        6. A tour through musical memories: Stories from dive bars and venues that shaped his appreciation for live music, like the Parish Baker Pub in Oxford, Mississippi, and Surfside 7 in Fort Collins.
        7. Community at the core: How local scenes, shared spaces, and a good setlist can bring people together in lasting ways.
        
        

        Why You’ll Love This Episode:

        It’s an honest, inspiring, and down-to-earth chat that reminds us why independent music, and the people who champion it, matter so much. Whether you’re a crate digger, a small business dreamer, or just someone who loves a good story about following your heart, this one’s for you.

        Listen now to hear how Charles Hale built more than a record store; he built a community around the joy of music.

        Links

        1. Get to know the rest of the Regulars
        2. You might also like our other podcasts, Sleep with Rock Stars or Country Fried Rock
        3. Toss a few coins in our Tip Jar!
        
        

        Chapters

        1. 00:12 - Introducing Charles Hale: A Music Enthusiast
        2. 01:10 - Starting a Record Store: Charles Hale's Journey
        3. 02:49 - Journey into Radio and Writing
        4. 05:11 - Exploring Music Venues
        5. 06:01 - Music Venues Across America
        6. 06:59 - Introduction to Dive Bar Music Club
        
        

        Takeaways

        1. Charles Hale's journey into music began with a simple act of raising his hand, showcasing how opportunities can arise from just a willingness to volunteer.
        2. At Driver 8 Records, we embrace a philosophy of taste over trends, ensuring that our selection resonates with true music aficionados.
        3. Community radio plays a vital role in nurturing local music scenes, providing a platform for emerging artists and fostering connections among fans.
        4. Dive bars like Surfside 7 in Colorado and Parish Baker Pub in Mississippi create intimate settings where unforgettable live music experiences thrive.
        5. The essence of a boutique record store lies in its unique curation, where each vinyl tells a story and connects listeners to the heart of music culture.
        6. Engaging with music on multiple fronts—from retail to radio—allows for a richer connection to the art form and strengthens community bonds.
        
        

        Mentioned in this Episode

        1. Driver 8 Records
        2. Ajax Diner Book Club
        3. Nine Bullets blog
        4. KRFC radio
        5. Fort Collins, Colorado
        6. Oxford, Mississippi
        
        

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

        , dive bar music, independent music podcast, Charles Hale interview, Fort Collins record store, Driver 8 Records, community radio, music fans, boutique record shop, music culture, vinyl records, music venues, live music experiences, music industry insights, radio show host, music recommendations, music community, emerging artists, music nerds, local music scene, record store owner

        Transcript

        Speaker A

        00:00:00.640 - 00:00:41.100

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

        This week, we're featuring one of the regulars, Fort Collins, Colorado, record store owner Charles Hale of Driver 8 Records and Ajax Diner Book Club. Hale has spent years in community radio. In the retail end of a boutique record shop, we're not about trends. We're all about taste.

        Part hang, part deep dive, part time machine. So grab a drink, slide into the booth, and get to know Charles Hale, one of our regulars on Dive Bar Music Club.

        Speaker B

        00:00:41.340 - 00:00:47.740

        So, Charles Hale, I sure appreciate you being part of Dive Bar Music Club. What have you been up to in the world of music these days?

        
        

        Speaker C

        00:00:48.220 - 00:01:08.160

        So it's every day I go to work, which is owning a record store. So every day I'm surrounded by music. And every week I host a radio show.

        
        

        So I'm throughout the week thinking about what I want to play, how I want to put it together for my Friday afternoon radio show.

        
        

        Speaker B

        00:01:08.400 - 00:01:10.320

        Tell me a little bit more about your record store.

        
        

        Speaker C

        00:01:10.560 - 00:01:45.770

        So the record store opened in July of 2022. I decided about a year and a half before then that I wanted to open a record store.

        
        

        I thought Fort Collins needed a better record store or a record store like I had in mind. And it took about a year and a half to write the business plan, figure everything out, most significantly, figure out how to pay for it.

        
        

        So we specialize in new and used records. We're a small boutique store, but people seem to like us very nice.

        
        

        Speaker B

        00:01:45.770 - 00:01:54.560

        So y' all should definitely check out the driver 8 records in Fort Collins, Colorado. So, Charles Hale, how on earth did you end up in the music business?

        
        

        Speaker C

        00:01:54.880 - 00:04:27.450

        You know, it's a great question, and I think the simplest answer is that way back when I raised my hand, sometimes that's all it takes. I don't know how. I happened to learn while I was in high school that colleges had radio stations, that if you were a student, you could be a dj.

        
        

        But once I learned that, that was my primary focus for going to college. So I just walked in to the campus radio station and said, hey, I want to do this. And went through the training, obviously, volunteer.

        
        

        I did that for two years, dropped out, then went to another college. And a guy I moved in with was a deejay at that college station. And he said, hey, you should come down. So again, I raised my hand.

        
        

        I go down there, I say I have some experience, and I get a midnight shift. Then years Later I'm reading the Nine Bullets blog and there happens to be a post that says, help wanted. We're looking for writers.

        
        

        And so I fired off an email and said, hey, I've got a degree in creative writing. I know music, I'd love to write. So that happened.

        
        

        Then a year or so after that, I was thinking about getting back in radio and looked at the community station in Fort Collins and I saw that the music director in his website bio read nine Bullets. And so I sent him an email, said, hey, I've done radio in the past. I write for Nine Bullets. I'd like to be involved.

        
        

        So again, just sort of volunteering.

        
        

        And then from that I also started helping put together a, like a mini roots festival by just saying after I attended the first year, saying, hey, I could help, if you need anything, let me know. So again, you just sort of raise your hand, you volunteer.

        
        

        And then I think it's important to be willing to do the unfun work because everybody in music wants to do the fun work. And then with the record store, that's sort of me just raising my hand to myself of saying, here is something that I think my community needs.

        
        

        I feel like this is something I might could be good at and let me see if I can figure out a way to make it happen. And then we're three and a half years in to the record store and people come by every day and buy records.

        
        

        Speaker B

        00:04:28.090 - 00:04:34.410

        Definitely check out Driver 8 records and folks can contact you online if they have any, like, special orders and stuff, can't they?

        
        

        Speaker C

        00:04:34.790 - 00:04:48.470

        Yes, we've got a website, we've got Facebook, we've got Instagram, and just recently we launched a Discogs page. So we sell some of our, our used inventory on Discogs.

        
        

        Speaker B

        00:04:48.950 - 00:04:57.830

        Very cool. So, yeah, definitely Driver 8 Records, both online as well as in Fort Collins, Colorado for the boutique shop. But also Ajax Diner Book Club is.

        
        

        Speaker C

        00:04:57.830 - 00:05:05.460

        The radio show which is also streaming, streaming online@krfcfm.org Fantastic.

        
        

        Speaker B

        00:05:05.460 - 00:05:21.820

        Community radio, always part of any great arts community and vital these days to emerging music. Well, Charles, one of the things we all love are the different venues that make the music even more magical.

        
        

        Are there any places in the past or in the present that you love to go see or hear music?

        
        

        Speaker C

        00:05:22.460 - 00:06:31.460

        No. Sticking with the dive bar theme, there are two, two dive bars in my past that are worth mentioning. One was when I was living in Oxford, Mississippi.

        
        

        There was a small bar called the Parish Baker Pub. They had music there fairly regularly, but there was never a cover charge.

        
        

        So sort of on their way up at Parish's Bar, I saw J. Roddy Walson in the business. I saw Cedric Burnside, I saw American Aquarium and I saw Pokey La Farge. Never paid a dollar for any of them.

        
        

        And then the other one is out here in Colorado. It's called Surfside 7. There, there was, you know, a five or ten dollar cover charge. But over the years I've gotten to see people like Charlie Parr.

        
        

        I saw John Morland play to 11 people there. Arlis, Nancy, and of course our hometown heroes Drag the River have played there a bunch.

        
        

        So Surfside 7 in Colorado and Parrish Baker Pub in Oxford, Mississippi.

        
        

        Speaker A

        00:06:31.940 - 00:06:32.380

        Wow.

        
        

        Speaker B

        00:06:32.380 - 00:06:38.300

        Absolutely fantastic. And for me it's fun to learn about places that are the space for.

        
        

        Speaker A

        00:06:38.300 - 00:06:39.380

        Different parts of the country.

        
        

        Speaker B

        00:06:39.460 - 00:06:41.540

        So thank you so much. I appreciate it.

        
        

        Speaker C

        00:06:41.860 - 00:06:43.420

        Absolutely awesome.

        
        

        Speaker B

        00:06:43.420 - 00:06:46.260

        Well Charles, where would you like people to be able to find you?

        
        

        Speaker C

        00:06:46.500 - 00:06:54.980

        Instagram. The Instagram is driver the number 8 Rex R E C s easy to find.

        
        

        Speaker B

        00:06:54.980 - 00:07:02.540

        Y' all should definitely stop by. I know that. And of course from one of my all time favorite bands. As folks who listen to this new show, Dive Bar Music Club will definitely.

        
        

        Speaker A

        00:07:02.540 - 00:07:20.810

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

        
        

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

        ]]>9f2d83c3-8ad8-468c-a49f-03aa2be7ecb0Fri, 02 Jan 2026 03:33:00 -040007:43truebonusThe Regulars: Caitlin Cary Cheers Change, Shifting from Music to Art - Dive Bar Music ClubSummary

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

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

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

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

        Bio

        Chapters

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

        Show Notes

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

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

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

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

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

        Listen in for:

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

        Where to Find Caitlin:

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

        Subscribe, Rate & Review:

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

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

        Takeaways

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

        Links

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

        Mentioned in This Episode

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

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

        , podcast about music, independent music discussion, visual artist interviews, Caitlin Cary podcast, creativity and music, fabric collage art, music industry insights, indie music scene, musicians transitioning to art, music venues Raleigh, Dive Bar Music Club, retired musicians, exploring creativity, art and music connection, music recommendations podcast, storytelling in music, fabric art techniques, crafting and music, touring musician experiences, music community discussions

        Transcript

        Speaker A

        00:00:02.400 - 00:00:33.850

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

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

        Speaker B

        00:00:35.130 - 00:01:19.030

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

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:19.580 - 00:01:47.840

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

        
        

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

        
        

        But I sew fabric onto canvas]]>Summary

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

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

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

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

        Bio

        Chapters

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

        Show Notes

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

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

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

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

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

        Listen in for:

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

        Where to Find Caitlin:

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

        Subscribe, Rate & Review:

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

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

        Takeaways

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

        Links

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

        Mentioned in This Episode

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

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

        , podcast about music, independent music discussion, visual artist interviews, Caitlin Cary podcast, creativity and music, fabric collage art, music industry insights, indie music scene, musicians transitioning to art, music venues Raleigh, Dive Bar Music Club, retired musicians, exploring creativity, art and music connection, music recommendations podcast, storytelling in music, fabric art techniques, crafting and music, touring musician experiences, music community discussions

        Transcript

        Speaker A

        00:00:02.400 - 00:00:33.850

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

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

        Speaker B

        00:00:35.130 - 00:01:19.030

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

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:19.580 - 00:01:47.840

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

        
        

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

        
        

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

        
        

        Speaker B

        00:01:48.080 - 00:01:54.480

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

        
        

        Speaker A

        00:01:55.520 - 00:02:54.950

        Yes.

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker B

        00:02:55.670 - 00:02:59.670

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

        
        

        Speaker A

        00:03:01.110 - 00:04:38.990

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker B

        00:04:39.230 - 00:04:42.430

        So congratulations. That is just spectacular.

        
        

        Speaker A

        00:04:42.510 - 00:04:51.710

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

        
        

        Speaker B

        00:04:53.950 - 00:05:12.350

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

        
        

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

        
        

        Speaker A

        00:05:13.550 - 00:06:32.700

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker B

        00:06:32.700 - 00:06:45.420

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

        
        

        Speaker A

        00:06:45.900 - 00:06:46.620

        Yeah, right.

        
        

        Speaker B

        00:06:48.140 - 00:06:50.380

        Where would you like people to find you?

        
        

        Speaker A

        00:06:51.100 - 00:07:26.970

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

        
        

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

        
        

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

        
        

        Speaker B

        00:07:27.530 - 00:07:31.290

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

        
        

        Speaker A

        00:07:32.250 - 00:07:35.450

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

        
        

        Speaker B

        00:07:35.850 - 00:07:40.730

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

        
        

        Speaker A

        00:07:40.810 - 00:07:42.570

        That's right. Anyway.

        
        

        Speaker B

        00:07:42.650 - 00:08:01.660

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

        
        

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

        
        

        Speaker A

        00:08:02.220 - 00:08:38.400

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

        
        

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

        
        

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

        
        

        Speaker B

        00:08:38.640 - 00:08:50.860

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

        
        

        Speaker A

        00:08:50.860 - 00:08:52.140

        Good to talk to you, Sloane.

        
        

        Speaker B

        00:08:53.500 - 00:09:10.940

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

        
        

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

        ]]>acafa25c-f2a5-4230-918b-413d9a1720d4Fri, 02 Jan 2026 03:33:00 -040009:34truebonusDive Bar Music Club: Pull Up to the Trailer - Dive Bar Music ClubSummary

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

        Show Notes

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

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

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

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

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

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

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

        Links

        • divebarmusicclub.com
        • Meet the Regulars
        
        

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

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

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

        , indie music podcast, music recommendations, music playlists, new music finds, deep cuts, music discussions, music experts, indie bands, music nerds, basement shows, favorite songs, music community, podcast episodes, music industry insights, music culture, new artist spotlight, music lovers, indie music trends, music discovery, Dive Bar Music Club

        Transcript

        Speaker A

        00:00:01.600 - 00:00:49.300

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

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

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

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

        ]]>Summary

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

        Show Notes

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

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

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

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

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

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

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

        Links

        • divebarmusicclub.com
        • Meet the Regulars
        
        

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

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

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

        , indie music podcast, music recommendations, music playlists, new music finds, deep cuts, music discussions, music experts, indie bands, music nerds, basement shows, favorite songs, music community, podcast episodes, music industry insights, music culture, new artist spotlight, music lovers, indie music trends, music discovery, Dive Bar Music Club

        Transcript

        Speaker A

        00:00:01.600 - 00:00:49.300

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

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

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

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

        ]]>e5ec6a92-7659-4f91-a45c-cdb2f2ff6f23Fri, 02 Jan 2026 02:22:00 -040000:54truetrailerCountry Fried Rock 1220: Joey Kneiser of Glossary on the Underdog's Guide to Making Music That MattersSummary

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

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

        Links

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

        
        

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

        Show Notes

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

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

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

        Chapters

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

        Takeaways

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:14.400

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

        Speaker B

        00:00:14.480 - 00:00:15.520

        I'm glad to be here.

        Speaker A

        00:00:15.520 - 00:00:17.760

        Appreciate you being here. When did you start playing?

        
        

        Speaker B

        00:00:18.400 - 00:01:09.560

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:10.520 - 00:01:17.640

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

        
        

        Speaker B

        00:01:17.960 - 00:02:14.200

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:02:14.200 - 00:02:19.480

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

        
        

        Speaker B

        00:02:20.040 - 00:03:06.590

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

        
        

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

        
        

        Like listening to it left of the dial and understanding like, oh, you know, the song is talking about all that music that's on these little college radio stations, you know, the stations that are under 100, you know. And I...]]>Summary

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

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

        Links

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

        
        

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

        Show Notes

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

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

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

        Chapters

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

        Takeaways

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:14.400

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

        Speaker B

        00:00:14.480 - 00:00:15.520

        I'm glad to be here.

        Speaker A

        00:00:15.520 - 00:00:17.760

        Appreciate you being here. When did you start playing?

        
        

        Speaker B

        00:00:18.400 - 00:01:09.560

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:10.520 - 00:01:17.640

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

        
        

        Speaker B

        00:01:17.960 - 00:02:14.200

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:02:14.200 - 00:02:19.480

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

        
        

        Speaker B

        00:02:20.040 - 00:03:06.590

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:03:06.670 - 00:03:07.150

        Yeah.

        
        

        Speaker B

        00:03:07.150 - 00:03:38.840

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

        
        

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

        
        

        Blows me away like 21 year old. Look at.

        
        

        Speaker A

        00:03:38.840 - 00:03:43.160

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

        
        

        Speaker B

        00:03:43.320 - 00:04:30.600

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:04:31.480 - 00:04:37.880

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

        
        

        Speaker B

        00:04:37.960 - 00:04:57.510

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

        
        

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

        
        

        You can, but you're still anonymous.

        
        

        Speaker A

        00:04:58.230 - 00:05:03.830

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

        
        

        Speaker B

        00:05:03.990 - 00:06:04.470

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:06:04.630 - 00:06:05.030

        Right.

        
        

        Speaker B

        00:06:05.110 - 00:06:15.110

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

        
        

        Speaker A

        00:06:15.670 - 00:06:25.830

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

        
        

        Speaker B

        00:06:26.310 - 00:07:15.930

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

        
        

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

        
        

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

        
        

        Speaker A

        00:07:16.410 - 00:07:18.330

        So where did that road take you early on?

        
        

        Speaker B

        00:07:18.730 - 00:09:14.320

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:09:14.480 - 00:09:21.600

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

        
        

        Speaker B

        00:09:22.000 - 00:10:26.960

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        You know, we...]]>b56e7c65-dad5-43f5-b619-4150fbe5996eFri, 02 Jan 2026 02:02:00 -040028:57truefull12201220Country Fried Rock 1219: Gordy Quist of Band of Heathens on Songwriting Secrets and Life into LyricsSummary

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

        Links

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

        
        

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

        Show Notes

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

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

        Chapters

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

        Takeaways

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:12.960

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

        Speaker B

        00:00:13.120 - 00:00:14.160

        Good morning, Sloan.

        Speaker A

        00:00:14.160 - 00:00:15.360

        Thanks for being with us.

        
        

        Speaker B

        00:00:15.520 - 00:00:16.720

        Yeah, it's good to be here.

        
        

        Speaker A

        00:00:17.040 - 00:00:20.880

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

        
        

        Speaker B

        00:00:21.280 - 00:01:12.720

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:13.040 - 00:01:16.400

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

        
        

        Speaker B

        00:01:16.559 - 00:01:23.600

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

        
        

        Speaker A

        00:01:23.760 - 00:01:24.240

        Yeah.

        
        

        Speaker B

        00:01:24.320 - 00:01:54.520

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

        
        

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

        
        

        So kind of all over the map growing up.

        
        

        Speaker A

        00:01:55.080 - 00:01:57.240

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

        
        

        Speaker B

        00:01:57.240 - 00:03:04.240

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:03:04.400 - 00:03:10.160

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

        
        

        Speaker B

        00:03:10.160 - 00:03:37.020

        Of your life at the time? In high school, I had a band. It was mainly a cover band, but we would...]]>Summary

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

        Links

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

        
        

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

        Show Notes

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

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

        Chapters

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

        Takeaways

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:12.960

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

        Speaker B

        00:00:13.120 - 00:00:14.160

        Good morning, Sloan.

        Speaker A

        00:00:14.160 - 00:00:15.360

        Thanks for being with us.

        
        

        Speaker B

        00:00:15.520 - 00:00:16.720

        Yeah, it's good to be here.

        
        

        Speaker A

        00:00:17.040 - 00:00:20.880

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

        
        

        Speaker B

        00:00:21.280 - 00:01:12.720

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:13.040 - 00:01:16.400

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

        
        

        Speaker B

        00:01:16.559 - 00:01:23.600

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

        
        

        Speaker A

        00:01:23.760 - 00:01:24.240

        Yeah.

        
        

        Speaker B

        00:01:24.320 - 00:01:54.520

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

        
        

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

        
        

        So kind of all over the map growing up.

        
        

        Speaker A

        00:01:55.080 - 00:01:57.240

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

        
        

        Speaker B

        00:01:57.240 - 00:03:04.240

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:03:04.400 - 00:03:10.160

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

        
        

        Speaker B

        00:03:10.160 - 00:03:37.020

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

        
        

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

        
        

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

        
        

        Speaker A

        00:03:37.420 - 00:03:44.380

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

        
        

        Speaker B

        00:03:44.860 - 00:04:26.920

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:04:27.080 - 00:04:28.040

        Where'd you go to school?

        
        

        Speaker B

        00:04:28.040 - 00:04:29.880

        I went to Dartmouth College.

        
        

        Speaker A

        00:04:29.880 - 00:04:30.680

        Oh, yeah?

        
        

        Speaker B

        00:04:30.760 - 00:04:42.840

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

        
        

        Speaker A

        00:04:43.480 - 00:04:47.560

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

        
        

        Speaker B

        00:04:47.560 - 00:06:59.580

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:06:59.740 - 00:07:09.750

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

        
        

        So if this music thing doesn't work out.

        
        

        Speaker B

        00:07:10.150 - 00:08:07.990

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:08:08.710 - 00:08:27.510

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

        
        

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

        
        

        Speaker B

        00:08:28.700 - 00:09:26.640

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:09:26.720 - 00:09:31.280

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

        
        

        Speaker B

        00:09:31.680 - 00:10:46.540

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        It was really kind of unplanned and organic.

        
        

        Speaker A

        00:10:47.180 - 00:10:49.980

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

        
        

        Speaker B

        00:10:50.220 -...]]>a3dea330-c656-41b3-99a1-3b49d0a3dd19Fri, 02 Jan 2026 02:02:00 -040037:59truefull12191219Country Fried Rock 1218: Mark Durfield of the Bearfoot Hookers on Guitars, Gospel, and Good TimesSummary

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

        Show Notes

        The Roots of Rock with Mark Durfield

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

        Episode Highlights:

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

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

        Links

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

        
        

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

        Chapters

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

        Takeaways

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:15.360

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

        Speaker B

        00:00:15.600 - 00:00:16.320

        Thank you.

        
        

        Speaker A

        00:00:16.320 - 00:00:17.280

        Thanks for being with us.

        
        

        Speaker B

        00:00:17.360 - 00:00:18.000

        Pleasure.

        
        

        Speaker A

        00:00:18.000 - 00:00:19.680

        How'd you get into music originally?

        
        

        Speaker B

        00:00:19.840 - 00:00:53.580

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

        
        

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

        
        

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

        
        

        Speaker A

        00:00:53.740 - 00:00:59.740

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

        
        

        Speaker B

        00:01:00.100 - 00:01:58.910

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

        
        

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

        
        

        But actually, the interesting thing is the...]]>Summary

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

        Show Notes

        The Roots of Rock with Mark Durfield

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

        Episode Highlights:

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

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

        Links

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

        
        

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

        Chapters

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

        Takeaways

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:15.360

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

        Speaker B

        00:00:15.600 - 00:00:16.320

        Thank you.

        
        

        Speaker A

        00:00:16.320 - 00:00:17.280

        Thanks for being with us.

        
        

        Speaker B

        00:00:17.360 - 00:00:18.000

        Pleasure.

        
        

        Speaker A

        00:00:18.000 - 00:00:19.680

        How'd you get into music originally?

        
        

        Speaker B

        00:00:19.840 - 00:00:53.580

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

        
        

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

        
        

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

        
        

        Speaker A

        00:00:53.740 - 00:00:59.740

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

        
        

        Speaker B

        00:01:00.100 - 00:01:58.910

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:58.910 - 00:02:01.330

        And what kind of gospel did your mom listen to?

        
        

        Speaker B

        00:02:01.410 - 00:02:44.910

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:02:45.310 - 00:02:49.590

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

        
        

        Speaker B

        00:02:49.590 - 00:02:50.030

        Yes.

        
        

        Speaker A

        00:02:50.190 - 00:02:52.350

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

        
        

        Speaker B

        00:02:52.670 - 00:03:27.070

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:03:27.440 - 00:03:28.000

        That is funny.

        
        

        Speaker B

        00:03:28.000 - 00:03:53.360

        It's strange.

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:03:53.700 - 00:03:57.180

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

        
        

        Speaker B

        00:03:57.180 - 00:04:31.850

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:04:32.010 - 00:04:32.650

        Exactly.

        
        

        Speaker B

        00:04:32.650 - 00:05:15.260

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:05:15.260 - 00:05:23.650

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

        
        

        Speaker B

        00:05:24.200 - 00:06:32.360

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:06:32.520 - 00:06:33.000

        Wow.

        
        

        Speaker B

        00:06:33.560 - 00:06:44.400

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

        
        

        Speaker A

        00:06:44.400 - 00:06:44.760

        Right.

        
        

        Speaker B

        00:06:45.000 - 00:08:09.460

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:08:10.140 - 00:08:16.460

        You said that you were fascinated with the recording process and would goof around with your four track. Has that]]>40c7aec0-69ed-4d5d-8880-df6496c38749Fri, 26 Dec 2025 02:02:00 -040031:29truefull12181218Country Fried Rock 1217: Lincoln Durham Embraced the Quiet to Find His VoiceSummary

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

        Links

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

        
        

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

        Show Notes

        "The Art of Creation with Lincoln Durham"

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

        Episode Highlights:

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

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

        Chapters

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

        Takeaways

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:21.520

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

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

        
        

        Speaker B

        00:00:21.520 - 00:00:23.120

        Well, thank you guys for having me.

        
        

        Speaker A

        00:00:23.200 - 00:00:25.600

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

        
        

        Speaker B

        00:00:25.990 - 00:00:41.510

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

        
        

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

        
        

        Speaker A

        00:00:42.070 - 00:00:45.510

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

        
        

        Speaker B

        00:00:46.070 - 00:01:09.420

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:09.740 - 00:01:10.940

        But you stuck with it.

        
        

        Speaker B

        00:01:11.100 - 00:02:00.400

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

        
        

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

        
        

        It wasn't later in life, you know, almost recently, that I...]]>Summary

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

        Links

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

        
        

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

        Show Notes

        "The Art of Creation with Lincoln Durham"

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

        Episode Highlights:

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

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

        Chapters

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

        Takeaways

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:21.520

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

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

        
        

        Speaker B

        00:00:21.520 - 00:00:23.120

        Well, thank you guys for having me.

        
        

        Speaker A

        00:00:23.200 - 00:00:25.600

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

        
        

        Speaker B

        00:00:25.990 - 00:00:41.510

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

        
        

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

        
        

        Speaker A

        00:00:42.070 - 00:00:45.510

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

        
        

        Speaker B

        00:00:46.070 - 00:01:09.420

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:09.740 - 00:01:10.940

        But you stuck with it.

        
        

        Speaker B

        00:01:11.100 - 00:02:00.400

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:02:00.800 - 00:02:03.120

        What was the first thing that you chose to do?

        
        

        Speaker B

        00:02:03.440 - 00:03:28.250

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:03:28.490 - 00:03:35.770

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

        
        

        Speaker B

        00:03:35.930 - 00:04:21.920

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

        
        

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

        
        

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

        
        

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

        
        

        Which was pretty terrible, if I remember.

        
        

        Speaker A

        00:04:22.960 - 00:04:26.000

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

        
        

        Speaker B

        00:04:26.240 - 00:05:29.760

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:05:29.840 - 00:05:31.400

        Because you wanted to or because you had to?

        
        

        Speaker B

        00:05:31.400 - 00:05:52.720

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

        
        

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

        
        

        Speaker A

        00:05:53.200 - 00:05:58.100

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

        
        

        Speaker B

        00:05:58.740 - 00:06:58.110

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:06:58.350 - 00:07:02.910

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

        
        

        Speaker B

        00:07:03.230 - 00:07:23.710

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

        
        

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

        
        

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

        
        

        Speaker A

        00:07:25.440 - 00:07:26.640

        What helped you in that process?

        
        

        Speaker B

        00:07:29.040 - 00:08:30.220

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:08:30.860 - 00:08:31.820

        What do you like to read?

        
        

        Speaker B

        00:08:32.300 - 00:09:10.600

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:09:10.600 -...]]>cd50c4ed-640a-4ee1-94de-201f73401b9bFri, 26 Dec 2025 02:02:00 -040037:34truefull12171217Country Fried Rock 1215: Brett Anderson of Ha Ha Tonka on Talent Shows to TouringSummary

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

        Show Notes

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

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

        Growing Up in the Kansas City Suburbs (With a Killer Soundtrack)

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

        At home, his parents played DJ:

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

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

        The Guitar Moment: From Listener to Music Maker

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

        College Days & Band Beginnings

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

        Crafting a Sound & Finding a Groove

        The band leaned into their rootsy sound, experimenting with:

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

        Wrapping Up with Death of a Decade

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

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

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

        Chapters

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

        Takeaways

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

        Links

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.640 - 00:00:12.880

        Welcome to Country Fried Rock where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered My guest today is from Haha Tonka. Welcome to Country Fried Rock.

        Speaker B

        00:00:13.040 - 00:00:13.840

        Thanks for having me.

        
        

        Speaker A

        00:00:13.840 - 00:00:16.880

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

        
        

        Speaker B

        00:00:17.840 - 00:00:49.100

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

        
        

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

        
        

        Speaker A

        00:00:49.180 - 00:00:51.020

        What kind of bands did your parents listen to?

        
        

        Speaker B

        00:00:51.180 - 00:01:18.070

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

        
        

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

        
        

        Speaker A

        00:01:18.310 - 00:01:22.790

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

        
        

        Speaker B

        00:01:23.240 - 00:01:40.360

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

        
        

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

        
        

        Speaker A

        00:01:40.360 - 00:01:44.040

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

        
        

        Speaker B

        00:01:44.040 - 00:02:04.950

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

        
        

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

        
        

        Speaker A

        00:02:04.950 - 00:02:09.950

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

        
        

        Speaker B

        00:02:10.430 - 00:02:27.460

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

        
        

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

        
        

        Speaker A

        00:02:28.180 - 00:02:31.060

        And so what Led to you performing for others.

        
        

        Speaker B

        00:02:31.700 - 00:03:14.290

        Honestly, it just was kind of a gradual progression. And really, in high school, there...]]>Summary

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

        Show Notes

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

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

        Growing Up in the Kansas City Suburbs (With a Killer Soundtrack)

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

        At home, his parents played DJ:

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

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

        The Guitar Moment: From Listener to Music Maker

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

        College Days & Band Beginnings

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

        Crafting a Sound & Finding a Groove

        The band leaned into their rootsy sound, experimenting with:

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

        Wrapping Up with Death of a Decade

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

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

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

        Chapters

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

        Takeaways

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

        Links

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.640 - 00:00:12.880

        Welcome to Country Fried Rock where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered My guest today is from Haha Tonka. Welcome to Country Fried Rock.

        Speaker B

        00:00:13.040 - 00:00:13.840

        Thanks for having me.

        
        

        Speaker A

        00:00:13.840 - 00:00:16.880

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

        
        

        Speaker B

        00:00:17.840 - 00:00:49.100

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

        
        

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

        
        

        Speaker A

        00:00:49.180 - 00:00:51.020

        What kind of bands did your parents listen to?

        
        

        Speaker B

        00:00:51.180 - 00:01:18.070

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

        
        

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

        
        

        Speaker A

        00:01:18.310 - 00:01:22.790

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

        
        

        Speaker B

        00:01:23.240 - 00:01:40.360

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

        
        

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

        
        

        Speaker A

        00:01:40.360 - 00:01:44.040

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

        
        

        Speaker B

        00:01:44.040 - 00:02:04.950

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

        
        

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

        
        

        Speaker A

        00:02:04.950 - 00:02:09.950

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

        
        

        Speaker B

        00:02:10.430 - 00:02:27.460

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

        
        

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

        
        

        Speaker A

        00:02:28.180 - 00:02:31.060

        And so what Led to you performing for others.

        
        

        Speaker B

        00:02:31.700 - 00:03:14.290

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:03:14.840 - 00:03:16.600

        So what did you play in those talent shows?

        
        

        Speaker B

        00:03:16.600 - 00:03:22.120

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

        
        

        Speaker A

        00:03:22.200 - 00:03:22.840

        Oh, really?

        
        

        Speaker B

        00:03:23.160 - 00:03:42.300

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

        
        

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

        
        

        Speaker A

        00:03:42.300 - 00:03:46.620

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

        
        

        Speaker B

        00:03:47.180 - 00:04:03.740

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

        
        

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

        
        

        Speaker A

        00:04:03.740 - 00:04:04.140

        Sure.

        
        

        Speaker B

        00:04:04.540 - 00:04:40.700

        Once we graduated college, we all kind of.

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:04:40.940 - 00:04:52.220

        In those early days.

        
        

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

        
        

        Speaker B

        00:04:52.860 - 00:05:32.550

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

        
        

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

        
        

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

        
        

        Into a form that we thought fit for Haha Tonka.

        
        

        Speaker A

        00:05:32.550 - 00:05:40.220

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

        
        

        Speaker B

        00:05:40.300 - 00:06:22.340

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:06:23.220 - 00:06:27.940

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

        
        

        Speaker B

        00:06:28.100 - 00:07:09.470

        Yeah, yeah, we did.

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:07:09.470 - 00:07:22.150

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

        
        

        Speaker B

        00:07:22.550 - 00:08:20.730

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:08:20.730 - 00:08:29.220

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

        
        

        Speaker B

        00:08:29.460 - 00:08:42.620

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

        
        

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

        
        

        Speaker A

        00:08:42.620 - 00:08:42.940

        Right.

        
        

        Speaker B

        00:08:42.940 - 00:08:45.860

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

        
        

        Speaker A

        00:08:46.180 - 00:08:47.460

        Yeah, that's where I was thinking.

        
        

        Speaker B

        00:08:48.020 - 00:08:52.180

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

        
        

        Speaker A

        00:08:52.260 - 00:08:52.740

        Thank you.

        
        

        Speaker B

        00:08:52.740 - 00:09:12.640

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

        
        

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

        
        

        Speaker A

        00:09:12.640 - 00:09:18.440

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

        
        

        Speaker B

        00:09:18.440 - 00:10:07.990

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

        
        

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

        
        

        We've toured with a lot of different types of bands, anywhere from like the Violent Films all the way to this last band we went on tour with Tea Leaf Green, who was actually kind of a jam based band. And we, which is different for us...]]>1718a49b-bfed-42e8-9ab3-04eef8247754Fri, 19 Dec 2025 02:02:00 -040029:50truefull12151215Country Fried Rock 1214: Angela Easterling From Carolina Roots to French TunesSummary

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

        Show Notes

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

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

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

        Chapters

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

        Takeaways

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

        Links

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

        Mentioned in this Episode

        • Furman University
        • Nashville
        
        

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:14.800

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

        Speaker B

        00:00:15.200 - 00:00:17.200

        Oh, my pleasure. Thanks for having me.

        
        

        Speaker A

        00:00:17.520 - 00:00:29.320

        Absolutely. Well, this is a pleasure.

        
        

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

        
        

        Speaker B

        00:00:29.320 - 00:00:30.360

        What most people thought.

        
        

        Speaker A

        00:00:31.160 - 00:00:37.800

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

        
        

        Speaker B

        00:00:38.360 - 00:04:02.150

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:04:02.150 - 00:04:06.510

        Apple juice. That's hysterical.

        
        

        Speaker B

        00:04:06.510 -...]]>Summary

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

        Show Notes

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

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

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

        Chapters

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

        Takeaways

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

        Links

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

        Mentioned in this Episode

        • Furman University
        • Nashville
        
        

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:14.800

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

        Speaker B

        00:00:15.200 - 00:00:17.200

        Oh, my pleasure. Thanks for having me.

        
        

        Speaker A

        00:00:17.520 - 00:00:29.320

        Absolutely. Well, this is a pleasure.

        
        

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

        
        

        Speaker B

        00:00:29.320 - 00:00:30.360

        What most people thought.

        
        

        Speaker A

        00:00:31.160 - 00:00:37.800

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

        
        

        Speaker B

        00:00:38.360 - 00:04:02.150

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:04:02.150 - 00:04:06.510

        Apple juice. That's hysterical.

        
        

        Speaker B

        00:04:06.510 - 00:04:57.360

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:04:57.360 - 00:05:07.640

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

        
        

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

        
        

        Speaker B

        00:05:08.280 - 00:05:54.620

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:05:54.620 - 00:05:57.420

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

        
        

        Speaker B

        00:05:57.660 - 00:06:10.620

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

        
        

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

        
        

        Speaker A

        00:06:10.780 - 00:06:11.180

        Right.

        
        

        Speaker B

        00:06:11.810 - 00:07:14.100

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:07:14.260 - 00:07:18.500

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

        
        

        Speaker B

        00:07:18.500 - 00:08:39.199

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:08:39.679 - 00:08:45.439

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

        
        

        Speaker B

        00:08:45.679 - 00:09:03.719

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

        
        

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

        
        

        Speaker A

        00:09:03.719 - 00:09:04.239

        Oh, wow.

        
        

        Speaker B

        00:09:04.239 - 00:09:46.450

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:09:46.770 - 00:09:55.730

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

        
        

        Speaker B

        00:09:56.370 - 00:11:55.230

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

        
        

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

        
        

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

        
        

        It was really funny.

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:11:55.310 - 00:12:01.550

        It's kind of like finding a completely different environment seems to bring out...]]>cfc702cc-ef81-4ab5-871d-d4cfba6f4c52Fri, 19 Dec 2025 02:02:00 -040027:52truefull12141214Country Fried Rock 1213: Patrick Sweany Talks Nashville's Blues SceneSummary

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

        Show Notes

        Diving into the vibrant world of music with Patrick Sweany

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

        Nashville Roots:

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

        From Ohio to Music City:

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

        Creative Integrity in a Commercial World:

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

        Formative Years in Kent, Ohio:

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

        Witty Banter on Musicianship:

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

        The Evolution of Genre:

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

        What’s Next for Patrick:

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

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

        Chapters

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

        Takeaways

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

        Links

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:16.560

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

        Welcome to Country Fried Rock.

        
        

        Speaker B

        00:00:16.560 - 00:00:17.440

        Glad to be here.

        
        

        Speaker A

        00:00:17.440 - 00:00:27.280

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

        
        

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

        
        

        Speaker B

        00:00:27.520 - 00:01:12.860

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:13.020 - 00:01:13.980

        That's fantastic.

        
        

        Speaker B

        00:01:14.060 - 00:01:44.080

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:44.240 - 00:01:59.560

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

        
        

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

        
        

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

        
        

        Speaker B

        00:01:59.720 - 00:04:55.880

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

        
        

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

        
        

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

        
        

        Because I see that way, you know, like, opening slots and showcase spots. You know, it's the only time that you really get to reach,...]]>Summary

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

        Show Notes

        Diving into the vibrant world of music with Patrick Sweany

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

        Nashville Roots:

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

        From Ohio to Music City:

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

        Creative Integrity in a Commercial World:

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

        Formative Years in Kent, Ohio:

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

        Witty Banter on Musicianship:

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

        The Evolution of Genre:

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

        What’s Next for Patrick:

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

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

        Chapters

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

        Takeaways

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

        Links

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

        Mentioned in this Episode

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

        Recommended If You Like

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

        Transcript

        Speaker A

        00:00:00.800 - 00:00:16.560

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

        Welcome to Country Fried Rock.

        
        

        Speaker B

        00:00:16.560 - 00:00:17.440

        Glad to be here.

        
        

        Speaker A

        00:00:17.440 - 00:00:27.280

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

        
        

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

        
        

        Speaker B

        00:00:27.520 - 00:01:12.860

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:13.020 - 00:01:13.980

        That's fantastic.

        
        

        Speaker B

        00:01:14.060 - 00:01:44.080

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

        
        

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

        
        

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

        
        

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

        
        

        Speaker A

        00:01:44.240 - 00:01:59.560

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

        
        

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

        
        

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

        
        

        Speaker B

        00:01:59.720 - 00:04:55.880

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

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

        
        

        So I'm like, okay, you know, I just thought this was just to hit this thing, you know, this rockabilly kind of thing. What's wrong with that, right? So, you know, I was hanging out with my friends and listening to, like, you know, the first couple Metallica albums.

        
        

        Stuff. And, you know, Poison was huge. Oh, yeah. Oh, my God. So that direct was happening. And, you know, it was cool, you know, if you're hanging out.

        
        

        But, you know, I remember that was about the same time. I think that right around that time, for sure there, I feel like. And justice for all came out. That, like, changed.

        
        

        Suddenly you could listen to heavy metal. It was obtainable, which was cool. I was really into that. But. But I was always just kind of doing my little folky blues thing.

        
        

        And while that was going on, and dad was taking me to, like, to concerts and things like that then in Wadsworth, Ohio. I grew up in Mass, Ohio, but in Wadsworth, Ohio, there's a high school auditorium there, the O.J. work Auditorium. They would have bluegrass shows at.

        
        

        I got to see Bill Monroe when I was about 11 or 12.

        
        

        Speaker A

        00:04:56.120 - 00:04:56.600

        Wow.

        
        

        Speaker B

        00:04:57.160 - 00:05:40.980

        And I didn't know who he was.

        
        

        His dad had taken me to a couple of them, and you'd see some bands, and some bands were good and some bands weren't as good, but I really dug was all these guys that would pay their admission to get into the concerts and never watch it. They'd come in and they'd go down in the high school cafeteria and pick. Oh, yeah. And I was like, man, this is crazy. No one's watching.

        
        

        These guys aren't watching the show. And then some of those guys were better than the bands that would, you know, be on.

        
        

        I mean, I didn't understand a lot about, you know, like, how that sort of works. And that's just the de Rigger bluegrass. Yeah. But I noticed that at Bill.

        
        

        And the Bill Monroe show was way more crowded, and those guys watched Bill Monroe. I was like, okay, this is different. And then, you know, later on, I realized who had seen, you know, the inventor of the music.

        
        

        Speaker A

        00:05:41.220 - 00:05:48.500

        I love how you talk about learning to sing the way you sing, because I'm not sure I've had anyone who could be clear about that in that way.

        
        

        Speaker B

        00:05:48.740 - 00:06:29.220

        I think anybody can sing, obviously. It's just. I really do. Some singers are better than others, you know, I mean, it's more what people think is pleasing.

        
        

        I mean, it really is just a muscle, you know, like anything else, you can work it out. It'll perform different. People are wired differently. Like my mother, you know, I. You know, I say a lot about my dad.

        
        

        You know, my mother's family's a lot of musical people. My mom was born in Liverpool, England. She came over to America when she was 20. Her sister married American service guy and moved to.

        
        

        Moved to Ohio, you know, you're out of school at 15.

        
        

        You know, at that time in England, you know, she lived with her mother going to work and her mom here move, she's like, you know, there's no opportunity for you here.

        
        

        Speaker A

        00:06:29.220 - 00:06:29.660

        Wow.

        
        

        Speaker B

        00:06:29.660 - 00:07:31.710

        To America. And she didn't want to go. You know, she was just a kid. Just terrifying to think what, you know, going to a different country when you're 20.

        
        

        You know, mom jokes, she's like, if I still playing with golf. I never met her dad. He was gone by the time I was around. But he, he apparently was a really, really talented mandolin player.

        
        

        And, you know, Liverpool, England, and you know, the post war, so it's a pretty rough city, you know, especially at that time, you know, as a shipping port. So he was, he was a docker drinking in the fight and, you know, just part of a lifestyle.

        
        

        When I've been over to England, you know, people ask me, where you from? And I said, well, you know, my mom's from, from Liverpool. And, you know, I said, you know, was your granddad a musician?

        
        

        So I never knew, but I knew he played mandolin and mom said that he could listen to a song and play it, but I don't really, so it's in there. So. Also made my mom a little bit wary, I'm sure, as a career choice, but mostly because she's worried about her boy drinking and whatever.

        
        

        Speaker A

        00:07:32.270 - 00:07:40.110

        So how did you then get from gigging in coffee shops in Kent, Ohio, to ultimately what led you to Nashville, but there's some time in between?

        
        

        Speaker B

        00:07:40.510 - 00:09:21.210

        Oh, a little bit, yeah. Well, by the time I graduated from college, I. I was working five nights a week. I had five gigs a week.

        
        

        So it was killer, you know, I mean, I was working a regular job, you know, I was only going to school a couple days a week at that point. It took me like six years to get a bachelor's degree. It was terrible, really. And I'm not really joking.

        
        

        I mean, it was definitely five and a half poor parents. So I. But, so, I mean, I was just mad for it and it was so I always had a gig and it was a great time, you know, that say we would have been.

        
        

        That would have been, you know, early to mid-90s, you know, so the economy was great.

        
        

        You know, the post Stevie Ray Vaughan thing had really opened up, you know, everyone with a little extra dough that, like music opened up a blues bar.

        
        

        It was great for me because again, because, you know, they're like, oh, man, I can, you know, you know, I can't get a Band in here for 150 bucks, but I can give this guy 100 bucks. Yeah. And I think I'm rich. $25 increase and play a long time. And I just.

        
        

        I always just learned to, you know, play long sets and then started to play some rhythm guitar with the local blues band. And I poached some of the guys out of that playing in my band. And we'd had a little trio, but I was probably 20. That's a little head.

        
        

        I was well into my mid-20s before I put a band together, probably 26 or so. But I would also do that, you know, I would also sub with this band and I'd play some Muddy Water stuff. So that's it.

        
        

        Just always, just always working, you know. And there was. There was plenty of gigs to be had and, you know, they weren't glamorous or anything like that.

        
        

        Speaker A

        00:09:21.370 - 00:09:21.770

        Right.

        
        

        Speaker B

        00:09:22.330 - 00:09:44.420

        May have been a little detriment to, you know, me career wise, because I'm thinking, well, I can go.

        
        

        Instead of me saving up money, going, playing some rock club and playing 40 minutes and doing that, you know, I would just go some bar from 10 to 2, but I'd have money in pocket. You know, I liked it. My favorite thing to do. So I didn't really think about it that way.

        
        

        Speaker A

        00:09:44.660 - 00:09:44.980

        Right.

        
        

        Speaker B

        00:09:44.980 - 00:10:10.360

        And have any sort of exposure to that. Probably long term. Wasn't a great choice. It's only now I realized what. But. But it really taught me to.

        
        

        And something I really cherish is also to sort of entertain an audience. You're not just a musician, you know, you, you know, you want people to pay attention to you. You've got to give them.

        
        

        You can't give them a lot of options.

        
        

        Speaker A

        00:10:10.840 - 00:10:11.200

        Right.

        
        

        Speaker B

        00:10:11.200 - 00:10:12.280

        Not listen to you.

        
        

        Speaker A

        00:10:12.760 - 00:10:14.360

        You do that very well live.

        
        

        Speaker B

        00:10:15.800 - 00:10:40.590

        That's my shtick. You know, I try to make sure that there's always something going on. Make it look like you're having a good time. Because usually I...]]>ebdcd1a8-3aff-4b2b-8103-193e8cb2d4b6Fri, 12 Dec 2025 02:02:00 -040030:11truefull12131213Country Fried Rock 1212: James McMurtry on Music and ProtestSummary

        James McMurtry, a heavyweight in the music world, takes center stage in this convo, diving deep into the heart of protest music and social change. He kicks things off with a hilarious admission about writing songs just to get ladies' attention (classic move)! As they riff on McMurtry's journey from lonely beer garden gigs to crafting powerful anthems, he shares the backstory of his iconic protest song, "We Can't Make It Here," which struck a chord right before the 2004 elections. The discussion morphs into a thoughtful analysis of how music can serve as a catalyst for dialogue, especially around issues like corporate power versus the people's voice. With a sprinkle of humor and a whole lot of insight, this episode is a delightful blend of McMurtry's personal anecdotes and a savvy commentary on the current state of society, leaving listeners both entertained and contemplative.

        Show Notes

        Country Fried Rock takes you behind the scenes of James McMurtry’s world, where his music meets life’s raw truths. Here’s the inside scoop on what to expect from this unforgettable conversation:

        A Playful Start:

        • McMurtry kicks things off with a laugh, admitting his first push into songwriting was driven by a simple desire for attention, specifically from women. It’s a fun, light-hearted beginning that sets a laid-back tone for the whole episode.
        
        

        The Early Struggles:

        • As he looks back on his first performances in beer gardens, McMurtry paints a picture of the grind: learning to play cover songs to get gigs, then slowly sneaking in his original stuff. The way he tells it, you can almost hear the clink of beer bottles and the hum of a tired crowd.
        
        

        Protest Music & Politics:

        • The conversation gets deeper when McMurtry talks about his iconic protest song, “We Can’t Make It Here.” Written during a tense time in U.S. politics, the song became a rallying cry for many, capturing the frustrations of everyday folks. McMurtry explains how protest music can spark important conversations without pushing people away, all while balancing the fine line between political commentary and universal truths.
        
        

        Writing With Purpose:

        • He shares his process of crafting songs that not only raise questions but also make room for connection. It’s all about creating music that invites listeners to reflect—without alienating them. His insights are both witty and wise, proving there's more to his music than meets the ear.
        
        

        The Future of McMurtry’s Music:

        • As the episode winds down, McMurtry hints at a shift toward more personal storytelling in his upcoming work. He's not done evolving, and it’s clear he’s always searching for deeper ways to connect with his audience. Plus, there's talk of collaborations with legends like Joan Baez, making us all eager to hear what's next.
        
        

        This episode is a fascinating glimpse into the mind of a musician who has used his craft to not just entertain, but to engage and inspire generations.

        Chapters

        • 00:18 - Interview with James McMurtry
        • 02:05 - The Journey of Songwriting and Protest Music
        • 05:45 - The Influence of Corporate Power on Government
        • 10:41 - The Evolution of Music Production
        • 19:16 - The Austin Residency and Its Impact on Local Artists
        • 20:47 - Intellectual Property and Music in the Digital Age
        
        

        Takeaways

        • James McMurtry started writing songs primarily to impress women, revealing his youthful motivations behind creativity.
        • His early musical inspirations were drawn from obscure artists like David Bromberg and John Hartford, shaping his unique sound.
        • The evolution of his songwriting reflects a deeper personal drive, transcending mere commercial success or popularity.
        • McMurtry's protest song, "We Can't Make It Here", illustrates the power of music to resonate with social issues, gaining unexpected traction among listeners.
        • He emphasizes the importance of the listener's connection to a song, suggesting that a popular tune's success often hinges on its relatability.
        • The ongoing dialogue about the intersection of music and social change reveals both challenges and opportunities for artists in today's political climate.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • James McMurtry
        • You may also enjoy this conversation from 2015 with M. Lockwood Porter
        • Toss a few in our Tip Jar!
        
        

        Mentioned in this Episode

        • Jimmy Buffett
        • David Bromberg
        • John Hartford
        • Joan Baez
        • C.C. Adcock
        • Bill Clinton
        • George Bush
        • Stephen King
        • Lucinda Williams
        • Johnny Burke
        • NAFTA
        
        

        Recommended If You Like

        James McMurtry interview, protest songs, social change music, Country Fried Rock podcast, songwriting inspiration, Americana music, Occupy Wall Street music, live music performance, music industry insights, songwriting process, vinyl records, music collaboration, critical acclaim in music, independent artist journey, music for social issues, contemporary folk music, music and politics, acoustic music scene, Texas music, modern protest music

        Transcript

        Speaker A

        00:00:00.800 - 00:00:22.320

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity.

        Country Fried Rock Music Uncovered we're chatting with James McMurtry, a powerful figure in the music scene, including many social change songs and a recent protest song regarding the Occupy Wall street movement as well. And that just touches the tip of what James McMurtry does. Good morning, James. How are you?

        
        

        Speaker B

        00:00:22.400 - 00:00:23.040

        I'm good.

        
        

        Speaker A

        00:00:23.120 - 00:00:26.320

        Thank you for being with us. How did you start writing songs originally?

        
        

        Speaker B

        00:00:27.540 - 00:00:33.860

        Well, I started writing songs so women would talk to me. Basically. I knew I wasn't gonna make the football team, so.

        
        

        Speaker A

        00:00:34.020 - 00:00:34.980

        So in high school.

        
        

        Speaker B

        00:00:35.140 - 00:00:37.140

        Yeah. What can a poor boy do, you know?

        
        

        Speaker A

        00:00:37.540 - 00:00:40.020

        So original stuff started for you pretty early then?

        
        

        Speaker B

        00:00:40.740 - 00:00:59.480

        Well, I guess I started. I was about 18, and I never really finished anything that I wanted to play till I was in my mid-20s. But you know, that.

        
        

        That time I was playing little beer garden gigs for 10 bucks and free beer. You know, you had to play certain number of Jimmy Buffett songs or the food and beverage guy wouldn't hire you, you know.

        
        

        But then I started working in a few originals with the. With all the COVID tunes.

        
        

        Speaker A

        00:01:00.040 - 00:01:03.240

        Where was it that you were wanting to go with your original music at that time?

        
        

        Speaker B

        00:01:03.400 - 00:01:11.640

        At that time, I was kind of in the vein of David Bromberg and some of the obscure writers that I knew about. John Hartford, people like that.

        
        

        Speaker A

        00:01:11.880 - 00:01:13.400

        What tapped you into that music?

        
        

        Speaker B

        00:01:13.800 - 00:01:58.460

        I don't know. I just. Somebody turned me onto it when I was a teenager and I mean, I listen to the Rolling Stones as well, but I listen to that other stuff too.

        
        

        So the Hartford and Bromberg stuff lended itself to solo acoustic more. I wasn't working with bands much at that time, and I went to school in Tucson at that time. It was really easier find a gig as a solo.

        
        

        There were a lot of these outdoor beer garden type places and coffee houses, that sort of thing. I mean, there were a few clubs that hired bands, but the bands of the time, that was new wave era, and I wasn't really into that.

        
        

        I was into Southern rock. Fortunately, there was one pretty cool southern rock band there.

        
        

        But a lot of times they'd have to go down to Bisbee to play because there were enough old hippies down there that they could find a gig.

        
        

        Speaker A

        00:01:58.780 - 00:02:07.180

        As you moved forward then and continued writing. And it evolved for you, though, into something a little different. What kept you driving with the writing?

        
        

        Speaker B

        00:02:07.340 - 00:02:15.500

        It was just something I did. I was going to do that whether I was making a living at it or not. But yeah, it was just something I wanted to do it was my drive.

        
        

        Speaker A

        00:02:15.960 - 00:02:29.480

        As you move forward in what you were doing, you've had kind of huge peaks of critical acclaim. But then some of the songs that stand out over time have been maybe the quieter.

        
        

        I don't want to put the term protest song on them, except that some of them maybe are.

        
        

        Speaker B

        00:02:29.800 -...]]>Summary

        James McMurtry, a heavyweight in the music world, takes center stage in this convo, diving deep into the heart of protest music and social change. He kicks things off with a hilarious admission about writing songs just to get ladies' attention (classic move)! As they riff on McMurtry's journey from lonely beer garden gigs to crafting powerful anthems, he shares the backstory of his iconic protest song, "We Can't Make It Here," which struck a chord right before the 2004 elections. The discussion morphs into a thoughtful analysis of how music can serve as a catalyst for dialogue, especially around issues like corporate power versus the people's voice. With a sprinkle of humor and a whole lot of insight, this episode is a delightful blend of McMurtry's personal anecdotes and a savvy commentary on the current state of society, leaving listeners both entertained and contemplative.

        Show Notes

        Country Fried Rock takes you behind the scenes of James McMurtry’s world, where his music meets life’s raw truths. Here’s the inside scoop on what to expect from this unforgettable conversation:

        A Playful Start:

        • McMurtry kicks things off with a laugh, admitting his first push into songwriting was driven by a simple desire for attention, specifically from women. It’s a fun, light-hearted beginning that sets a laid-back tone for the whole episode.
        
        

        The Early Struggles:

        • As he looks back on his first performances in beer gardens, McMurtry paints a picture of the grind: learning to play cover songs to get gigs, then slowly sneaking in his original stuff. The way he tells it, you can almost hear the clink of beer bottles and the hum of a tired crowd.
        
        

        Protest Music & Politics:

        • The conversation gets deeper when McMurtry talks about his iconic protest song, “We Can’t Make It Here.” Written during a tense time in U.S. politics, the song became a rallying cry for many, capturing the frustrations of everyday folks. McMurtry explains how protest music can spark important conversations without pushing people away, all while balancing the fine line between political commentary and universal truths.
        
        

        Writing With Purpose:

        • He shares his process of crafting songs that not only raise questions but also make room for connection. It’s all about creating music that invites listeners to reflect—without alienating them. His insights are both witty and wise, proving there's more to his music than meets the ear.
        
        

        The Future of McMurtry’s Music:

        • As the episode winds down, McMurtry hints at a shift toward more personal storytelling in his upcoming work. He's not done evolving, and it’s clear he’s always searching for deeper ways to connect with his audience. Plus, there's talk of collaborations with legends like Joan Baez, making us all eager to hear what's next.
        
        

        This episode is a fascinating glimpse into the mind of a musician who has used his craft to not just entertain, but to engage and inspire generations.

        Chapters

        • 00:18 - Interview with James McMurtry
        • 02:05 - The Journey of Songwriting and Protest Music
        • 05:45 - The Influence of Corporate Power on Government
        • 10:41 - The Evolution of Music Production
        • 19:16 - The Austin Residency and Its Impact on Local Artists
        • 20:47 - Intellectual Property and Music in the Digital Age
        
        

        Takeaways

        • James McMurtry started writing songs primarily to impress women, revealing his youthful motivations behind creativity.
        • His early musical inspirations were drawn from obscure artists like David Bromberg and John Hartford, shaping his unique sound.
        • The evolution of his songwriting reflects a deeper personal drive, transcending mere commercial success or popularity.
        • McMurtry's protest song, "We Can't Make It Here", illustrates the power of music to resonate with social issues, gaining unexpected traction among listeners.
        • He emphasizes the importance of the listener's connection to a song, suggesting that a popular tune's success often hinges on its relatability.
        • The ongoing dialogue about the intersection of music and social change reveals both challenges and opportunities for artists in today's political climate.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • James McMurtry
        • You may also enjoy this conversation from 2015 with M. Lockwood Porter
        • Toss a few in our Tip Jar!
        
        

        Mentioned in this Episode

        • Jimmy Buffett
        • David Bromberg
        • John Hartford
        • Joan Baez
        • C.C. Adcock
        • Bill Clinton
        • George Bush
        • Stephen King
        • Lucinda Williams
        • Johnny Burke
        • NAFTA
        
        

        Recommended If You Like

        James McMurtry interview, protest songs, social change music, Country Fried Rock podcast, songwriting inspiration, Americana music, Occupy Wall Street music, live music performance, music industry insights, songwriting process, vinyl records, music collaboration, critical acclaim in music, independent artist journey, music for social issues, contemporary folk music, music and politics, acoustic music scene, Texas music, modern protest music

        Transcript

        Speaker A

        00:00:00.800 - 00:00:22.320

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity.

        Country Fried Rock Music Uncovered we're chatting with James McMurtry, a powerful figure in the music scene, including many social change songs and a recent protest song regarding the Occupy Wall street movement as well. And that just touches the tip of what James McMurtry does. Good morning, James. How are you?

        
        

        Speaker B

        00:00:22.400 - 00:00:23.040

        I'm good.

        
        

        Speaker A

        00:00:23.120 - 00:00:26.320

        Thank you for being with us. How did you start writing songs originally?

        
        

        Speaker B

        00:00:27.540 - 00:00:33.860

        Well, I started writing songs so women would talk to me. Basically. I knew I wasn't gonna make the football team, so.

        
        

        Speaker A

        00:00:34.020 - 00:00:34.980

        So in high school.

        
        

        Speaker B

        00:00:35.140 - 00:00:37.140

        Yeah. What can a poor boy do, you know?

        
        

        Speaker A

        00:00:37.540 - 00:00:40.020

        So original stuff started for you pretty early then?

        
        

        Speaker B

        00:00:40.740 - 00:00:59.480

        Well, I guess I started. I was about 18, and I never really finished anything that I wanted to play till I was in my mid-20s. But you know, that.

        
        

        That time I was playing little beer garden gigs for 10 bucks and free beer. You know, you had to play certain number of Jimmy Buffett songs or the food and beverage guy wouldn't hire you, you know.

        
        

        But then I started working in a few originals with the. With all the COVID tunes.

        
        

        Speaker A

        00:01:00.040 - 00:01:03.240

        Where was it that you were wanting to go with your original music at that time?

        
        

        Speaker B

        00:01:03.400 - 00:01:11.640

        At that time, I was kind of in the vein of David Bromberg and some of the obscure writers that I knew about. John Hartford, people like that.

        
        

        Speaker A

        00:01:11.880 - 00:01:13.400

        What tapped you into that music?

        
        

        Speaker B

        00:01:13.800 - 00:01:58.460

        I don't know. I just. Somebody turned me onto it when I was a teenager and I mean, I listen to the Rolling Stones as well, but I listen to that other stuff too.

        
        

        So the Hartford and Bromberg stuff lended itself to solo acoustic more. I wasn't working with bands much at that time, and I went to school in Tucson at that time. It was really easier find a gig as a solo.

        
        

        There were a lot of these outdoor beer garden type places and coffee houses, that sort of thing. I mean, there were a few clubs that hired bands, but the bands of the time, that was new wave era, and I wasn't really into that.

        
        

        I was into Southern rock. Fortunately, there was one pretty cool southern rock band there.

        
        

        But a lot of times they'd have to go down to Bisbee to play because there were enough old hippies down there that they could find a gig.

        
        

        Speaker A

        00:01:58.780 - 00:02:07.180

        As you moved forward then and continued writing. And it evolved for you, though, into something a little different. What kept you driving with the writing?

        
        

        Speaker B

        00:02:07.340 - 00:02:15.500

        It was just something I did. I was going to do that whether I was making a living at it or not. But yeah, it was just something I wanted to do it was my drive.

        
        

        Speaker A

        00:02:15.960 - 00:02:29.480

        As you move forward in what you were doing, you've had kind of huge peaks of critical acclaim. But then some of the songs that stand out over time have been maybe the quieter.

        
        

        I don't want to put the term protest song on them, except that some of them maybe are.

        
        

        Speaker B

        00:02:29.800 - 00:03:15.790

        Well, yeah, the protests. One of the protest songs got noticed. I wrote that song, We Can't Make It Here. I put that out right before. Right before the 2004 elections.

        
        

        I wrote it and I put it out of the free download. And it got a lot more attention than anything I'd put on a record in a long, long time. And I think it just got.

        
        

        It was lucky in that a lot of people identified with it. Just the nature of a popular song. A popular song is more about the listener than the writer.

        
        

        The listener has to hear his or herself in the narrator song. So I was in the right place at the right time for that. And of course, that song developed a life of its own.

        
        

        Now I just re recorded that because I heard Joan Baez wanted to sing on it. I went over to Louisiana and C.C. adcock and I put together a new track for it.

        
        

        Speaker A

        00:03:16.030 - 00:03:16.510

        Cool.

        
        

        Speaker B

        00:03:16.910 - 00:03:21.710

        And I think we're. I think Joan's supposed to put her vocal on it this week. I'm not sure that's exciting.

        
        

        Speaker A

        00:03:21.710 - 00:03:42.500

        I didn't know about that. Yeah, not so much.

        
        

        When a song ends up with a life of its own, that may not have anything to do with where you thought it would go, but in terms of having a feeling for yourself that you want to put into writing, and then it gets picked up like that in popularity. I mean, I don't know. The protest songs are started with the intent of ever being, quote, unquote, popular.

        
        

        Speaker B

        00:03:43.050 - 00:04:11.320

        Well, that song was started because I felt powerless because I live in Texas and I tend to vote Democratic, which means my vote kind of goes nowhere. So the only power I had was through song and through a record deal.

        
        

        I recorded that and first did it as a solo acoustic thing because I couldn't get the band in the studio for another two weeks. So I did that and I went down to KGSR radio because I knew the morning guy, Kevin Connor, let me spin anything. And I put some old style bleeps on it.

        
        

        Speaker A

        00:04:11.320 - 00:04:11.760

        Yep.

        
        

        Speaker B

        00:04:11.760 - 00:04:13.800

        So we wouldn't get in FCC trouble.

        
        

        Speaker A

        00:04:13.800 - 00:04:14.200

        Right.

        
        

        Speaker B

        00:04:14.200 - 00:05:06.000

        And went down and spun it at morning drive time. And of course, you know, this was 2004. Bush's numbers were soaring. And everybody took that as an anti Bush song, strictly.

        
        

        So I put it on the air and I had nasty emails on the website before I even got home because so many people just had their whole identity wrapped up in George Bush. Think about it. For me, the song was not strictly an anti Bush song. I mean, I was no fan of the Bush administration.

        
        

        But a lot of what the narrator complains about in that song really took wing under Clinton and probably have their roots further back in Reagan, Nixon, you know, failing back. So, you know, the chief problem that the narrator has, outsourcing, you know, and Clinton really fanned the flames on that one.

        
        

        Bush did nothing to slow it down because his friends were getting just as rich as Clinton's were. And it's still going on and it's an ongoing process. And so the song works just fine under Obama.

        
        

        Speaker A

        00:05:06.400 - 00:05:14.960

        When you take on a social issue that goes beyond Republican and Democrat, do you find that it opens up discourse or that it closes people off?

        
        

        Speaker B

        00:05:15.520 - 00:05:40.290

        It's starting to open up discourse.

        
        

        During the Bush years, it closed people off because you basically had two camps that were almost like religious cults and they weren't going to listen to each other. Now, with any luck, we can get some dialogue going because, you know, I don't see the problem in this country as right left, Republican, Democrat.

        
        

        I see it more as the interests of the people versus the interests of the corporations.

        
        

        Speaker A

        00:05:40.530 - 00:05:43.490

        And so is that what drew you into the Occupy Wall street movement?

        
        

        Speaker B

        00:05:43.970 - 00:07:34.520

        Definitely. This is not just the U.S. this is a global thing.

        
        

        What we've seen happening over the last few years is that governments have less and less power and they have less power to protect the people because the power now lies in multinational corporations. Back to Clinton. This is what Clinton should have been in peace for was nafta.

        
        

        I don't care what his love life is like, what his practices are, but there's, you know, some of NAFTA really undermines our sovereignty and our safety. You know, Obama's just made a big show of blocking the Keystone pipeline. Well, that pipeline is going to go through whether he wants it or not.

        
        

        Because if it's blocked, the Canadian parent company can sue us under nafta. Billions of dollars in projected loss of profit. You know, so there's no way out of that. And it was NAFTA that did it. You know, it's been done before.

        
        

        The state of California at one point, they're interested in making their gasoline burn clean. And there was a Canadian company, that parent company that owned a US Company that produced something called mtbe, which makes the gas burn clean.

        
        

        Problem with it is it's very hard to contain it's. Very carcinogenic. And a pinhole leak in an underground tank can contain contaminate groundwater for miles around.

        
        

        Well, they came up with some contaminated wells around Lake Tahoe where the water quality is what they have to sell for the most part. The state of California banned mtv. Well, the Canadian company sued the state and won.

        
        

        So the next time I was out there, suddenly half the gas stations are closed down and the other half have their tanks dug up, have to replace them with better tanks to hold that stuff. You know, that was a case of a corporation having more power than a government, and it shouldn't be that way. The governments are here.

        
        

        And I don't fear government. I think big government could be useful. You know, it's basically a service organization.

        
        

        Speaker A

        00:07:35.080 - 00:07:44.040

        Do you feel, and I don't know if this was the intent or not, but do you feel any kind of bond with the history of songs for social change in our country?

        
        

        Speaker B

        00:07:46.120 - 00:08:08.080

        No, I haven't really thought about that. It's just more of a reaction, what is going on.

        
        

        And it's just very tricky writing any kind of political song because it's very easy for the song to turn into a sermon, which nobody's going to want to listen to. And then more often it turns into a rant, which it can actually be kind of entertaining. But if you're really, really lucky, you get a song.

        
        

        Speaker A

        00:08:08.960 - 00:08:22.150

        I think about just having watched the Grammys on Sunday night and Bruce Springsteen opening it up and thinking about the misinterpretation of songs that he has in the past. Do you feel that you're getting any kind of opposite reaction of what the thoughts were behind what you wanted to say?

        
        

        Speaker B

        00:08:22.950 - 00:08:55.340

        Sometimes, yeah. I had another song called Chaney's Toy, which is more of a rant, and it starts with the image of the unknown soldier.

        
        

        I guess I wasn't clear enough because a lot of people seem to think I was saying the soldiers were Cheney's toys. Not at all. I was saying that Bush was Cheney's toy. I felt like that was. That whole administration appeared to really be sort of a puppet show.

        
        

        Bush as the puppet and Cheney is the puppet master. I may be wrong about that because I don't think Bush was near as obtuse as people took him to be. Like, that was an act.

        
        

        But I don't know that he really cared about being president either.

        
        

        Speaker A

        00:08:55.500 - 00:09:03.420

        Do you feel a need to go back and rework anything from your past? Songs that come from a place at a certain time that may morph over time?

        
        

        Speaker B

        00:09:04.700 - 00:09:27.350

        Yeah, I mean, I'll do Different versions of. I do. You know, I record live versions of done in the studio. But I don't feel the need to really go back.

        
        

        I mean, there's a couple of them that I thought had more potential. It might be nice to re record someday. And it's probably possible because a lot of my songs didn't get noticed by anybody.

        
        

        Redo it and it sounds brand new.

        
        

        Speaker A

        00:09:28.150 - 00:09:30.550

        Are you working towards a next album?

        
        

        Speaker B

        00:09:31.030 - 00:09:42.040

        Yeah, we're just starting on it. Got a couple new songs in the live set and about got cece talked into producing, which would be great.

        
        

        I don't really want to produce myself anymore for a while.

        
        

        Speaker A

        00:09:42.440 - 00:09:45.160

        What do you. What do you hope CC brings to the project?

        
        

        Speaker B

        00:09:45.880 - 00:09:58.600

        A lot more knowledge of the studio than I have. Just he'll run with any bizarre idea. He's been doing a thing now he calls vinylizing in his mastering process.

        
        

        He'll get him to actually press a vinyl disc.

        
        

        Speaker A

        00:09:58.840 - 00:09:59.320

        Nice.

        
        

        Speaker B

        00:09:59.960 - 00:10:17.810

        And then, you know, put that on a really expensive turntable. So there's no....]]>699823b3-be7b-4b36-9bdd-afb6373dbc98Fri, 12 Dec 2025 02:02:00 -040024:12truefull12121212Country Fried Rock 1211: Annie Rothschild of Paladino, Rocking Roots and Rolling BluesSummary

        From 2012: Annie Rothschild of Paladino spills the beans on her musical journey, diving into how her roots in blues, thanks to her dad's iconic record label (Landslide), shaped her sound and career. From the early days of tinkering with piano and clarinet to her recent romance with the upright bass, she reveals how her eclectic influences, from Bonnie Raitt to the Allman Brothers, spark her creativity. The convo takes a twist as Annie talks about the unique blend of country vibes with a punk edge that defines Paladino’s music, showcasing the band's chemistry and collaborative spirit. They chat about the whirlwind of recording what was supposed to be a demo but turned into their self-titled album, all while keeping things real with a no-nonsense approach to studio time. Tune in for a laid-back yet insightful peek into the life of a musician who's all about staying true to her roots while exploring new sounds.

        Chapters

        • 00:12 - Introduction to Today's Guest
        • 05:15 - The Journey of a Bass Player
        • 09:37 - The Evolution of Paladino's Sound
        • 14:56 - The Future of Paladino's Sound
        • 17:46 - Touring Adventures and Family Life
        
        

        Show Notes

        Diving into the vibrant world of music, Sloane Spencer welcomes Annie Rothschild from Paladino to discuss the roots of her musical journey. Growing up surrounded by the rich sounds of the South, thanks to her father’s record label, Annie's introduction to music was as organic as it gets. She reminisces about her early days, from classical piano lessons to picking up the electric bass a decade ago, and eventually transitioning to the upright bass with Palladino. Their conversation unpacks Annie's influences, ranging from the blues legends like Muddy Waters and Bonnie Raitt to the soulful grooves of New Orleans. As Annie shares her passion for improvisation and the unique tonal qualities of the upright bass, listeners get a glimpse of the deep connection between her musical upbringing and her current artistic expression. The episode captures the essence of creativity, illustrating how Annie's background has shaped her approach to music-making and her journey with Paladino.

        Takeaways

        • Annie Rothschild's musical journey began with a childhood steeped in blues, thanks to her father's record label, shaping her artistic path.
        • The formation of Paladino was a serendipitous event, showcasing how organic connections can lead to creative collaborations in music.
        • Annie's transition from electric to upright bass illustrates the evolution of her musical style, embracing the rich tones of roots music.
        • The chemistry within Paladino is a delightful mix of personalities and influences, creating a unique sound that blends country with punk rock elements.
        • Annie expresses aspirations for their next album to reflect a more cohesive sound, highlighting the importance of production in music creation.
        • The band emphasizes the joy of live performance, describing their gigs as a continuously evolving experience fueled by audience energy.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • Annie Rothschild of Paladino, later of Nocona
        • You may also enjoy this conversation from 2015 with Lee Gallagher
        • Toss a few in the Tip Jar!
        
        

        Mentioned in this Episode

        • Paladino
        • Landslide Records
        • Capricorn
        • Widespread Panic
        • Derek Trucks
        • Guitar Center
        • Bonnie Raitt
        • Susan Stufsky
        • Willie Dixon
        • Steve Holland
        • Mingus
        • Allen Toussaint
        • James Booker
        • The Meters
        • George Porter
        • Mud Waters
        • Allman Brothers
        • Dwayne Allman
        • Freddie King
        • Van Halen
        • Otis Redding
        • Aretha Franklin
        • T.L. Burnett
        • Youth for Christ Choir
        • Dorothy Love Coats
        • Jim Scott
        • The Jayhawks
        • Ween
        
        

        Recommended If You Like

        Country Fried Rock, Palladino band, Annie Rothschild interview, creative inspiration in music, blues music influence, upright bass playing, roots country music, modern punk rock sound, live music performance, recording process in music, self-produced albums, female musicians in blues, songwriting collaboration, music scene in Los Angeles, touring with a band, festival performances, influences of classic rock, music role models, unique band chemistry, music collaboration dynamics

        Transcript

        Speaker A

        00:00:00.800 - 00:00:16.520

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered My name is Sloan Spencer, and you're listening to Country Fried Rock.

        My guest today is Annie Rothschild of Palladino. Welcome, Annie.

        
        

        Speaker B

        00:00:16.520 - 00:00:17.760

        Thanks. Thanks for having me.

        
        

        Speaker A

        00:00:17.840 - 00:00:21.200

        So glad to have you with us. How did you originally start playing music?

        
        

        Speaker B

        00:00:21.520 - 00:00:40.320

        Well, I've been around music my whole life. My father owns a little record label based out of the south, and so then he's been feeding me blues my whole life, so I feel very lucky with that.

        
        

        And. And I just started playing bass, I guess, about 10 years ago, just electric bass.

        
        

        But I actually just started the upright about a year ago when Palladino formed.

        
        

        Speaker A

        00:00:40.560 - 00:00:42.840

        So you didn't grow up playing an instrument, actually?

        
        

        Speaker B

        00:00:42.840 - 00:00:53.040

        Well, that's not true.

        
        

        I played piano and clarinet and off and on for years, but just picked up the bass about 10 years ago, and then now I barely play the electric anymore at all. It's only upright.

        
        

        Speaker A

        00:00:53.360 - 00:00:56.880

        So early piano and clarinet lessons didn't ruin your interest in music?

        
        

        Speaker B

        00:00:57.930 - 00:01:16.090

        No, actually, I loved piano. I was kind of like, I learned classically trained and I always wanted to know how to improvise.

        
        

        Like, I grew up in Atlanta and I always wanted to learn how to play like, you know, Allman Brothers and Skinner. And then eventually I just kind of like fell out of it a little bit and then got. Got into the bass a few years after that.

        
        

        Speaker A

        00:01:16.330 - 00:01:24.490

        You grew up with a classical training in instruments, but I totally get the wanting to play your own thing. What led to you starting to actually play music that you wanted to play?

        
        

        Speaker B

        00:01:24.900 - 00:01:45.940

        So funny. Just one day I just, like, needed to play the bass. I don't know why or how. I think tar, like, never appealed to me.

        
        

        I think six strings versus four just seemed like a little difficult.

        
        

        So, yeah, I just cruised down to Guitar center and bought a bass and amp and started fooling around, you know, trying to play old blues tunes and kind of had this urge to do it, I guess.

        
        

        Speaker A

        00:01:46.100 - 00:01:51.510

        Did you have any, like, female role models in terms of bass playing or guitar playing or. Or was that even an issue?

        
        

        Speaker B

        00:01:51.750 - 00:02:33.780

        Gosh, actually. Well, Bonnie Raitt, just. She's my idol and, you know, guitar player, but just being grounded in the blues and all. She's done for blues.

        
        

        I've always looked up to her. And also Susan Stufsky, definitely a role model. She's such a great singer and performer, and she's awesome.

        
        

        But, yeah, those are the only females I've ever really looked up to. There's some upright players I was definitely inspired by, like, Willie Dixon, who I've named my bass after James Singleton.

        
        

        I love all New Orleans music is really, really great. And recently I've been getting into a lot more like jazz, upright jazz players like Steve Holland and Mingus. So the upright tone is so special.

        
        

        It's so powerful to try to be a part of it and, you know, have it flow through you, I guess.

        
        

        Speaker A

        00:02:33.780 - 00:02:41.620

        Is the point when you talk about old blues and you. That you grew up listening to and stuff with your dad and then what you also personally like, what kind of stuff?

        
        

        Speaker B

        00:02:42.020 - 00:03:05.920

        Well, like old New Orleans music. Alan Toussaint and James Booker. And that scene has always been really powerful to me. Like, I've. I've listened so extensively to all of music.

        
        

        Really, really inspiring. And, you know, the Meters. George Porter is one of my favorite bass players as well. But I don't know why.

        
        

        I've always had an affinity for just like old, like, roots music in general. Why? Like, I don't know. That's why I love Paladino, actually. Although it's kind of a different. We're more of a country.

        
        

        Speaker A

        00:03:06.400 - 00:03:09.600

        What were you listening to? The roots music that was inspiring...]]>Summary

        From 2012: Annie Rothschild of Paladino spills the beans on her musical journey, diving into how her roots in blues, thanks to her dad's iconic record label (Landslide), shaped her sound and career. From the early days of tinkering with piano and clarinet to her recent romance with the upright bass, she reveals how her eclectic influences, from Bonnie Raitt to the Allman Brothers, spark her creativity. The convo takes a twist as Annie talks about the unique blend of country vibes with a punk edge that defines Paladino’s music, showcasing the band's chemistry and collaborative spirit. They chat about the whirlwind of recording what was supposed to be a demo but turned into their self-titled album, all while keeping things real with a no-nonsense approach to studio time. Tune in for a laid-back yet insightful peek into the life of a musician who's all about staying true to her roots while exploring new sounds.

        Chapters

        • 00:12 - Introduction to Today's Guest
        • 05:15 - The Journey of a Bass Player
        • 09:37 - The Evolution of Paladino's Sound
        • 14:56 - The Future of Paladino's Sound
        • 17:46 - Touring Adventures and Family Life
        
        

        Show Notes

        Diving into the vibrant world of music, Sloane Spencer welcomes Annie Rothschild from Paladino to discuss the roots of her musical journey. Growing up surrounded by the rich sounds of the South, thanks to her father’s record label, Annie's introduction to music was as organic as it gets. She reminisces about her early days, from classical piano lessons to picking up the electric bass a decade ago, and eventually transitioning to the upright bass with Palladino. Their conversation unpacks Annie's influences, ranging from the blues legends like Muddy Waters and Bonnie Raitt to the soulful grooves of New Orleans. As Annie shares her passion for improvisation and the unique tonal qualities of the upright bass, listeners get a glimpse of the deep connection between her musical upbringing and her current artistic expression. The episode captures the essence of creativity, illustrating how Annie's background has shaped her approach to music-making and her journey with Paladino.

        Takeaways

        • Annie Rothschild's musical journey began with a childhood steeped in blues, thanks to her father's record label, shaping her artistic path.
        • The formation of Paladino was a serendipitous event, showcasing how organic connections can lead to creative collaborations in music.
        • Annie's transition from electric to upright bass illustrates the evolution of her musical style, embracing the rich tones of roots music.
        • The chemistry within Paladino is a delightful mix of personalities and influences, creating a unique sound that blends country with punk rock elements.
        • Annie expresses aspirations for their next album to reflect a more cohesive sound, highlighting the importance of production in music creation.
        • The band emphasizes the joy of live performance, describing their gigs as a continuously evolving experience fueled by audience energy.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • Annie Rothschild of Paladino, later of Nocona
        • You may also enjoy this conversation from 2015 with Lee Gallagher
        • Toss a few in the Tip Jar!
        
        

        Mentioned in this Episode

        • Paladino
        • Landslide Records
        • Capricorn
        • Widespread Panic
        • Derek Trucks
        • Guitar Center
        • Bonnie Raitt
        • Susan Stufsky
        • Willie Dixon
        • Steve Holland
        • Mingus
        • Allen Toussaint
        • James Booker
        • The Meters
        • George Porter
        • Mud Waters
        • Allman Brothers
        • Dwayne Allman
        • Freddie King
        • Van Halen
        • Otis Redding
        • Aretha Franklin
        • T.L. Burnett
        • Youth for Christ Choir
        • Dorothy Love Coats
        • Jim Scott
        • The Jayhawks
        • Ween
        
        

        Recommended If You Like

        Country Fried Rock, Palladino band, Annie Rothschild interview, creative inspiration in music, blues music influence, upright bass playing, roots country music, modern punk rock sound, live music performance, recording process in music, self-produced albums, female musicians in blues, songwriting collaboration, music scene in Los Angeles, touring with a band, festival performances, influences of classic rock, music role models, unique band chemistry, music collaboration dynamics

        Transcript

        Speaker A

        00:00:00.800 - 00:00:16.520

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered My name is Sloan Spencer, and you're listening to Country Fried Rock.

        My guest today is Annie Rothschild of Palladino. Welcome, Annie.

        
        

        Speaker B

        00:00:16.520 - 00:00:17.760

        Thanks. Thanks for having me.

        
        

        Speaker A

        00:00:17.840 - 00:00:21.200

        So glad to have you with us. How did you originally start playing music?

        
        

        Speaker B

        00:00:21.520 - 00:00:40.320

        Well, I've been around music my whole life. My father owns a little record label based out of the south, and so then he's been feeding me blues my whole life, so I feel very lucky with that.

        
        

        And. And I just started playing bass, I guess, about 10 years ago, just electric bass.

        
        

        But I actually just started the upright about a year ago when Palladino formed.

        
        

        Speaker A

        00:00:40.560 - 00:00:42.840

        So you didn't grow up playing an instrument, actually?

        
        

        Speaker B

        00:00:42.840 - 00:00:53.040

        Well, that's not true.

        
        

        I played piano and clarinet and off and on for years, but just picked up the bass about 10 years ago, and then now I barely play the electric anymore at all. It's only upright.

        
        

        Speaker A

        00:00:53.360 - 00:00:56.880

        So early piano and clarinet lessons didn't ruin your interest in music?

        
        

        Speaker B

        00:00:57.930 - 00:01:16.090

        No, actually, I loved piano. I was kind of like, I learned classically trained and I always wanted to know how to improvise.

        
        

        Like, I grew up in Atlanta and I always wanted to learn how to play like, you know, Allman Brothers and Skinner. And then eventually I just kind of like fell out of it a little bit and then got. Got into the bass a few years after that.

        
        

        Speaker A

        00:01:16.330 - 00:01:24.490

        You grew up with a classical training in instruments, but I totally get the wanting to play your own thing. What led to you starting to actually play music that you wanted to play?

        
        

        Speaker B

        00:01:24.900 - 00:01:45.940

        So funny. Just one day I just, like, needed to play the bass. I don't know why or how. I think tar, like, never appealed to me.

        
        

        I think six strings versus four just seemed like a little difficult.

        
        

        So, yeah, I just cruised down to Guitar center and bought a bass and amp and started fooling around, you know, trying to play old blues tunes and kind of had this urge to do it, I guess.

        
        

        Speaker A

        00:01:46.100 - 00:01:51.510

        Did you have any, like, female role models in terms of bass playing or guitar playing or. Or was that even an issue?

        
        

        Speaker B

        00:01:51.750 - 00:02:33.780

        Gosh, actually. Well, Bonnie Raitt, just. She's my idol and, you know, guitar player, but just being grounded in the blues and all. She's done for blues.

        
        

        I've always looked up to her. And also Susan Stufsky, definitely a role model. She's such a great singer and performer, and she's awesome.

        
        

        But, yeah, those are the only females I've ever really looked up to. There's some upright players I was definitely inspired by, like, Willie Dixon, who I've named my bass after James Singleton.

        
        

        I love all New Orleans music is really, really great. And recently I've been getting into a lot more like jazz, upright jazz players like Steve Holland and Mingus. So the upright tone is so special.

        
        

        It's so powerful to try to be a part of it and, you know, have it flow through you, I guess.

        
        

        Speaker A

        00:02:33.780 - 00:02:41.620

        Is the point when you talk about old blues and you. That you grew up listening to and stuff with your dad and then what you also personally like, what kind of stuff?

        
        

        Speaker B

        00:02:42.020 - 00:03:05.920

        Well, like old New Orleans music. Alan Toussaint and James Booker. And that scene has always been really powerful to me. Like, I've. I've listened so extensively to all of music.

        
        

        Really, really inspiring. And, you know, the Meters. George Porter is one of my favorite bass players as well. But I don't know why.

        
        

        I've always had an affinity for just like old, like, roots music in general. Why? Like, I don't know. That's why I love Paladino, actually. Although it's kind of a different. We're more of a country.

        
        

        Speaker A

        00:03:06.400 - 00:03:09.600

        What were you listening to? The roots music that was inspiring beyond.

        
        

        Speaker B

        00:03:09.600 - 00:03:42.290

        The old blues, Muddy Waters is probably my favorite performer of all time. But I grew up listening to a lot of the Allman Brothers. Dwayne Allman, fantastic. And Freddie King has been a huge inspiration as well.

        
        

        I remember my dad gave me my first tape that he made for me. It was Van Halen's Jump.

        
        

        I was like 4 years old and then came like all Otis Redding and Aretha Franklin and all that Atlantic record stuff is really, really cool and really powerful to me. My dad owns a record label called Landslide Records.

        
        

        He's closely related with Capricorn, Widespread Panic's first album, and Derek Trucks first album.

        
        

        Speaker A

        00:03:42.530 - 00:03:50.520

        I am a proud owner of one of the original album releases of Widespread Panic. Before it got picked. Yeah, before it was picked up and then redone.

        
        

        Speaker B

        00:03:50.520 - 00:03:55.840

        So he sold the rights to Capricorn in 1988 for that record. That's so neat that you know the label.

        
        

        Speaker A

        00:03:55.840 - 00:03:59.160

        Oh, yeah, that's crazy. Well, that's really cool.

        
        

        Speaker B

        00:03:59.400 - 00:04:14.000

        So lucky to have that. Like, just to have a taste for music.

        
        

        Like, I don't know, to have somebody who's like, so inspired and inspiring to just constantly be feeding me music still to this day. Like, I was just getting into this gospel record recently. T.L. burnett and the Youth for Christ Choir.

        
        

        Speaker A

        00:04:14.000 - 00:04:14.600

        Oh, wow.

        
        

        Speaker B

        00:04:14.600 - 00:04:36.920

        72 Chicago. This incredible gospel record that's like super soul oriented. I'm like, dad, have you listened to this and he's like, no, he's like, but have you.

        
        

        Have you hear Dorothy Love Coats and all? It's all in the universe of music that you don't know exists. And you think you know, right? Yeah, I'm really getting into gospel these days, actually.

        
        

        Like, I don't know how or why, but yeah, I like kind of soul.

        
        

        Speaker A

        00:04:37.160 - 00:04:43.400

        I'm a little surprised at all the jazz and blues because I would not have said that right away from listening to Paladino.

        
        

        Speaker B

        00:04:43.890 - 00:05:11.170

        I know, it's funny. We are a cool combination. I mean, I'm a huge music snob. I wouldn't, like, be in this band if I didn't think that tunes were really powerful.

        
        

        It's definitely like a roots country, but with like a real modern punk rock edge to. It comes from Johnny, our lead singer, and then Chris, our lead guitar player. Johnny grew up in Southern California, and Eric, Chris from New York.

        
        

        They've got, like a huge punk rock thing going on. So it's kind of like a neat combination of modern, cool, modern sound, but really, like, authentic.

        
        

        Speaker A

        00:05:11.550 - 00:05:19.390

        You were talking a little bit about picking up the electric bass about 10 years ago. @ what point did that become more than just something you were doing on your own?

        
        

        Speaker B

        00:05:19.790 - 00:06:25.050

        You know, it's funny, I lived in San Francisco for a while and I moved to la and just randomly I was talking to a girlfriend about how I was playing bass. And that would be cool to sort of look looking for a band. But I just kind of started over in la.

        
        

        And then one of her best friends had just mentioned to her that they were looking for a bass player. It was just totally kind of meant to be. And then I went over and rehearsed with them. And magic happened, I thought.

        
        

        And then we were rehearsing the next week at Johnny's house. Johnny and I were. And he had this upright just laying around that he never really played.

        
        

        And it's a big beater and, like, I couldn't take my hands off it. And like, here you go, you can take it. And now I really need to give it back. But, yeah, it all happened really organically. It was meant to be.

        
        

        It just kind of. We all fell into it together. Johnny and Adrian, our other guitar player, have known each other for 20 years.

        
        

        And Johnny is actually like, he's a brilliant songwriter, but he's also a brilliant artist. He's kind of a shut in. And this is his first band. Adrian was like, okay, this is all coming together. It's time to start a band.

        
        

        Like, it's Time to do this. It has been really a cool ride. Hey, this is Annie Rothschild with Palladino, and you're listening to Country Fried Rock as.

        
        

        Speaker A

        00:06:25.050 - 00:06:29.890

        Y' all just sort of fell into this as the band. What led to developing songs together?

        
        

        Speaker B

        00:06:30.290 - 00:07:33.200

        Well, Johnny had a lot of songs that he were like, we were partially done, or he had ideas about. And then he and Chris started collab a lot. Chris is a brilliant musician who has been. Who's toured the world with a number of bands.

        
        

        Brings in a real sensibility and, like, a real strong direction the songs, you know, gives it a more of a modern edge to it, for sure. He's also a fantastic performer and one of the greatest guitar players I've ever known. I mean, killer slide player.

        
        

        So I think that they kind of just started developing all the songs together, and then we all just started rehearsing. We rehearsed twice a week for six months before we even played a gig. And now it's just. It's. You know, you can feel it in our rehearsal space.

        
        

        Like, everyone's kind of come into their own position in the band, which is totally fascinating because this band is full of characters, and just the chemistry that happens between everybody is fascinating, really. You know, everyone has a specific place in it. Like Johnny.

        
        

        Johnny will come in with a song, and Chris will kind of help arrange it, and they'll be agreeing or disagreeing. And Adrian is just like. She's like, the one that just doesn't take any. Okay, let's stay on track here. Yeah, it's really fun to watch.

        
        

        Speaker A

        00:07:33.360 - 00:07:39.200

        As you refined what you were doing with frequent rehearsal, how did it go as you first started performing out?

        
        

        Speaker B

        00:07:39.280 - 00:08:31.710

        Actually, our first gig was at Silver Lake Lounge eight months ago. Or, yeah, I guess about six to eight months ago. It was, you know, it was cool. It was a perfect club. It was a good sound system.

        
        

        Young guy was really on top of it. And I feel like we're just getting better and better. As long as we don't drink too much before the show, which we're, you know, we're not doing.

        
        

        You know, our gigs are definitely becoming smoother and more refined. We're getting down. We've been experimenting with different set lists, trying not to change too much about the song.

        
        

        Like, sometimes one of us will be like, wait, we should be doing this slower, or we should speed this up, or we should change this intro or whatever. And then usually it's like checks and balances. Like, someone will be like, no, dude, it's good the way we did it.

        
        

        Let's not, you know, rearrange everything. So. And it's good. We have an odd number of people in the band. We can agree, like, okay, three versus we have. The voice of reason is our drummer, John.

        
        

        He's the one. He's been playing drums his entire life and he's an incredible drummer. He's always the one that kind of like is like the tiebreaker when you're.

        
        

        Speaker A

        00:08:31.710 - 00:08:38.410

        Dealing with bluegrass or old time bands. The bass line is what drives the rhythm. But you've got a drummer, so how does that work for your interplay?

        
        

        Speaker B

        00:08:38.570 - 00:08:53.770

        When we first started playing together, I totally glommed onto Johnny's upright immediately. And then we're starting to play and then I was just really learning how to play it and it's a totally different.

        
        

        And the guys, you know, were like, maybe you should play electric a little bit. And I was like, no, actually I'm going to just play.

        
        

        Speaker A

        00:08:53.850 - 00:08:54.570

        I'm going to.

        
        

        Speaker B

        00:08:54.650 - 00:09:28.510

        You're going to have to bear with me. You know, I took some lessons and started. I picked it up really quickly. Still picking it up, obviously, but really, really just took to it.

        
        

        John is a very technical drummer. He and I normally come up with the rhythm together. It's kind of like I'll throw something out like, hey, what about this bass line?

        
        

        Or what about that one? And he'll say yes or no, or, you know, why don't I do this kind of fill? And like, we definitely try to play off each other.

        
        

        Whatever is best for the song. Whatever is best for the moment. Nobody is trying to be a hero or trying to stand out at all. Whatever is happening at that.

        
        

        Just trying to do right by the song.

        
        

        Speaker A

        00:09:29.080 - 00:09:37.560

        It's all happened kind of quickly for you in terms of falling in together, rehearsing, having the gigs. What led to recording the songs?

        
        

        Speaker B

        00:09:37.960 - 00:11:26.700

        Yeah, it has happened. It's so funny. It really has happened so quickly, almost shockingly, you know, fast.

        
        

        I think that a lot of that has had to do with Adrienne who's, you know, acting as our manager. And she's. She's just the most beautiful and brilliant gal.

        
        

        I mean, she's so on board and so on top of it with reaching...]]>e5edd785-00ab-4ffa-9b7e-cb526819afaaFri, 05 Dec 2025 02:02:00 -040023:45truefull12111211Country Fried Rock 1210: Margo Price on Buffalo Clover's Wild RideSummary

        From 2012. At the end of this episode, well, she did exactly that.

        Margo Price of Buffalo Clover dives deep into her musical journey, sharing how her roots in family music and her self-taught guitar skills shaped her unique sound. With a blend of candid reflection and playful anecdotes, she reminisces about her early days, from awkward piano lessons to the exhilarating thrill of writing her own songs. The conversation takes a heartfelt turn as she reveals the therapeutic power of songwriting, especially during challenging times, including the loss of one of her twins. Margo's infectious energy shines through as she discusses the evolution of Buffalo Clover's music, exploring the delicate balance between rock and country, while also hinting at her new solo project. As they chat, it's clear that Margo's passion for music is as vibrant as ever, and she’s excited about the future, hoping to captivate audiences and make a full-time living doing what she loves.

        Show Notes

        On this episode of Country Fried Rock, Sloane Spencer sat down with the ever-charming Margo Price, lead singer of Buffalo Clover. Here's what went down:

        • Kicking things off: Margo brought her signature wit and down-to-earth vibe as she chatted about her early days, starting out on piano, teaching herself guitar, and growing up in a musically rich family that clearly shaped her path.
        
        

        Musical tastes? All over the map:

        • Think Beach Boys' chill harmonies one minute…
        • …and Eminem’s gritty edge the next.
        • Margo’s playlist growing up was wildly eclectic, and you can hear it in her music today.
        
        

        A walk through her songwriting journey:

        • Her first songs? Not your typical teenage love ballads, more like deep dives into social issues that left early listeners both intrigued and a little confused.
        • Over time, she and Buffalo Clover found their groove, blending folk, rock, and country while staying true to their roots.
        
        

        Behind the scenes with the band:

        • Working with her husband Jeremy Ivey added a whole other layer to the creative process.
        • Co-writing with your spouse? Equal parts magic and madness—but it works for them.
        
        

        The real talk:

        • Margo opened up about the tougher stuff: motherhood, personal loss, and the ups and downs of the music biz.
        • Their latest album, Low Down Time, became more than just a record: it was a lifeline, a way to process grief and find healing through music.
        
        

        What listeners walked away with:

        • A deeper look at Margo not just as a musician, but as a human being navigating real life with grace, grit, and a healthy dose of humor.
        • A reminder that the best songs often come from the most personal places.
        
        

        Chapters

        • 00:09 - Introducing Margo Price
        • 03:06 - The Evolution of Musical Influence
        • 08:10 - The Evolution of Buffalo Clover
        • 11:12 - Navigating Change: The Journey of Creativity and Loss
        • 15:18 - Exploring Musical Identity
        • 20:51 - Navigating the Music Scene
        
        

        Takeaways

        • Margo Price shares how her musical journey began with piano lessons, inspired by family musicians.
        • The transition from piano to guitar was fueled by a desire to create original songs, showcasing her creative independence.
        • Buffalo Clover's evolution reflects a blend of genres, mixing rock and country, creating a unique soundscape for listeners.
        • Margo discusses the therapeutic nature of songwriting, especially after experiencing personal tragedies, highlighting music's healing power.
        • The band's dynamic shifted towards collaboration, fostering a competitive yet supportive environment for songwriting among members.
        • Margo's thoughts on the struggles of navigating the music industry, emphasizing the importance of marketing and audience connection.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • Margo Price
        • Buffalo Clover is still on Bandcamp
        • You may also enjoy this conversation from 2015 with Cale Tyson
        • Toss a few in our Tip Jar!
        
        

        Mentioned in this Episode

        • Buffalo Clover
        • Palaver Records
        • The Beach Boys
        • Alanis Morissette
        • Fiona Apple
        • Stanley Brothers
        • Joan Baez
        • Joni Mitchell
        • Bob Dylan
        • Reba McEntire
        • Blackhawk
        • The Kinks
        • Wanda Jackson
        • Sam Doores and the Tumbleweeds
        • Steve Soto and the Twisted Hearts
        • The Full Tones
        
        

        Recommended If You Like

        Country Fried Rock, Margo Price, Buffalo Clover, country music podcast, songwriting inspiration, Nashville music scene, creativity in music, folk music influences, Americana sound, music industry challenges, acoustic guitar, recording music, live performances, music collaboration, songwriting process, music therapy, Buffalo Clover albums, music production, indie music scene, music career development

        Transcript

        Speaker A

        00:00:00.800 - 00:00:13.600

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Margo Price of Buffalo Clover.

        Speaker B

        00:00:14.000 - 00:00:15.360

        Hi, Sloan. It's Margo.

        Speaker C

        00:00:15.600 - 00:00:18.000

        Thank you so much for being with us on Country Fried Rock.

        
        

        Speaker B

        00:00:18.080 - 00:00:18.720

        Thank you.

        
        

        Speaker C

        00:00:19.200 - 00:00:21.360

        How did you learn to play music originally?

        
        

        Speaker B

        00:00:21.760 - 00:01:30.810

        Well, I started taking piano when I was pretty young. My parents don't really play or anything, but my grandparents and great grandparents, they all played.

        
        

        And so my parents got me piano and started getting me taking lessons and everything. And I wanted to learn my own songs, you know, I wanted to learn songs that my piano teacher wasn't teaching me.

        
        

        So after about seven years, my mom was just like, I don't know, you don't really seem like you want to do it anymore. And so then I ended up getting a guitar and kind of teaching myself how to play.

        
        

        But I always did, you know, like chorus and all that kind of stuff, like show choir and stuff like that. But it really was kind of a therapeutic thing for me, I think, from the get go.

        
        

        I kind of started like writing my own songs when I was really young, even before I knew how to like put music to them. And I had like all these horrible little tapes and me singing acapella and I used to do a lot of like dance and theater and stuff like that.

        
        

        Then I just really decided that I didn't want to do that so much anymore and I just wanted to play. So kind of gave up all my other 20,000 hobbies, all the sports and cheerleading and all that, and decided I was gonna play guitar.

        
        

        And now in the project I'm playing in now, I really just sing mostly. I mean, I write a lot of the songs on guitar, on piano, but then I end up just kind of singing. I still play on some of the.

        
        

        Speaker C

        00:01:31.120 - 00:01:37.760

        When you first jumped over to guitar and you were writing your own stuff, what were you listening to that was influencing where those early things were coming from?

        
        

        Speaker B

        00:01:38.160 - 00:02:30.190

        Hard to say. A lot of it is embarrassing because I think that, you know, the 80s were just such a bad time for music in like early 90s and stuff like that.

        
        

        But I remember one of the first songs that I remember hearing when I was like maybe 10 or 11 was that Stanley Brothers song Counting Flowers on the Wall. And I don't know why I thought that song was so cool.

        
        

        And my mom hated it because it was, you know, said like smoking cigarettes and all that, but that was like the coolest song. But, you know, I listened to a lot of bad stuff too. I mean, I was of course like, Alanis Morissette was awesome and Fiona Apple and.

        
        

        Not that anything wrong with them, but I just don't. I just don't really relate to it much anymore.

        
        

        Yeah, I was big into Fiona Apple and I mean, I always, you know, my parents listened to a lot of like 60s, 70s type of music and so I always had that kind of in the background. But I. I didn't really think it was cool until, you know, I was about 20 or something.

        
        

        Speaker C

        00:02:30.590 - 00:02:33.390

        What was it that you could handle listening to that your parents were playing?

        
        

        Speaker B

        00:02:34.030 - 00:03:05.900

        My dad always had the Beach Boys on and I really liked that. But then after a while I got really tired of it and I'd always be like, can you put something else on? You know, And I mean I.

        
        

        Even when I was like 13, 14, I like into rap and you know, all...]]>Summary

        From 2012. At the end of this episode, well, she did exactly that.

        Margo Price of Buffalo Clover dives deep into her musical journey, sharing how her roots in family music and her self-taught guitar skills shaped her unique sound. With a blend of candid reflection and playful anecdotes, she reminisces about her early days, from awkward piano lessons to the exhilarating thrill of writing her own songs. The conversation takes a heartfelt turn as she reveals the therapeutic power of songwriting, especially during challenging times, including the loss of one of her twins. Margo's infectious energy shines through as she discusses the evolution of Buffalo Clover's music, exploring the delicate balance between rock and country, while also hinting at her new solo project. As they chat, it's clear that Margo's passion for music is as vibrant as ever, and she’s excited about the future, hoping to captivate audiences and make a full-time living doing what she loves.

        Show Notes

        On this episode of Country Fried Rock, Sloane Spencer sat down with the ever-charming Margo Price, lead singer of Buffalo Clover. Here's what went down:

        • Kicking things off: Margo brought her signature wit and down-to-earth vibe as she chatted about her early days, starting out on piano, teaching herself guitar, and growing up in a musically rich family that clearly shaped her path.
        
        

        Musical tastes? All over the map:

        • Think Beach Boys' chill harmonies one minute…
        • …and Eminem’s gritty edge the next.
        • Margo’s playlist growing up was wildly eclectic, and you can hear it in her music today.
        
        

        A walk through her songwriting journey:

        • Her first songs? Not your typical teenage love ballads, more like deep dives into social issues that left early listeners both intrigued and a little confused.
        • Over time, she and Buffalo Clover found their groove, blending folk, rock, and country while staying true to their roots.
        
        

        Behind the scenes with the band:

        • Working with her husband Jeremy Ivey added a whole other layer to the creative process.
        • Co-writing with your spouse? Equal parts magic and madness—but it works for them.
        
        

        The real talk:

        • Margo opened up about the tougher stuff: motherhood, personal loss, and the ups and downs of the music biz.
        • Their latest album, Low Down Time, became more than just a record: it was a lifeline, a way to process grief and find healing through music.
        
        

        What listeners walked away with:

        • A deeper look at Margo not just as a musician, but as a human being navigating real life with grace, grit, and a healthy dose of humor.
        • A reminder that the best songs often come from the most personal places.
        
        

        Chapters

        • 00:09 - Introducing Margo Price
        • 03:06 - The Evolution of Musical Influence
        • 08:10 - The Evolution of Buffalo Clover
        • 11:12 - Navigating Change: The Journey of Creativity and Loss
        • 15:18 - Exploring Musical Identity
        • 20:51 - Navigating the Music Scene
        
        

        Takeaways

        • Margo Price shares how her musical journey began with piano lessons, inspired by family musicians.
        • The transition from piano to guitar was fueled by a desire to create original songs, showcasing her creative independence.
        • Buffalo Clover's evolution reflects a blend of genres, mixing rock and country, creating a unique soundscape for listeners.
        • Margo discusses the therapeutic nature of songwriting, especially after experiencing personal tragedies, highlighting music's healing power.
        • The band's dynamic shifted towards collaboration, fostering a competitive yet supportive environment for songwriting among members.
        • Margo's thoughts on the struggles of navigating the music industry, emphasizing the importance of marketing and audience connection.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • Margo Price
        • Buffalo Clover is still on Bandcamp
        • You may also enjoy this conversation from 2015 with Cale Tyson
        • Toss a few in our Tip Jar!
        
        

        Mentioned in this Episode

        • Buffalo Clover
        • Palaver Records
        • The Beach Boys
        • Alanis Morissette
        • Fiona Apple
        • Stanley Brothers
        • Joan Baez
        • Joni Mitchell
        • Bob Dylan
        • Reba McEntire
        • Blackhawk
        • The Kinks
        • Wanda Jackson
        • Sam Doores and the Tumbleweeds
        • Steve Soto and the Twisted Hearts
        • The Full Tones
        
        

        Recommended If You Like

        Country Fried Rock, Margo Price, Buffalo Clover, country music podcast, songwriting inspiration, Nashville music scene, creativity in music, folk music influences, Americana sound, music industry challenges, acoustic guitar, recording music, live performances, music collaboration, songwriting process, music therapy, Buffalo Clover albums, music production, indie music scene, music career development

        Transcript

        Speaker A

        00:00:00.800 - 00:00:13.600

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today on Country Fried Rock is Margo Price of Buffalo Clover.

        Speaker B

        00:00:14.000 - 00:00:15.360

        Hi, Sloan. It's Margo.

        Speaker C

        00:00:15.600 - 00:00:18.000

        Thank you so much for being with us on Country Fried Rock.

        
        

        Speaker B

        00:00:18.080 - 00:00:18.720

        Thank you.

        
        

        Speaker C

        00:00:19.200 - 00:00:21.360

        How did you learn to play music originally?

        
        

        Speaker B

        00:00:21.760 - 00:01:30.810

        Well, I started taking piano when I was pretty young. My parents don't really play or anything, but my grandparents and great grandparents, they all played.

        
        

        And so my parents got me piano and started getting me taking lessons and everything. And I wanted to learn my own songs, you know, I wanted to learn songs that my piano teacher wasn't teaching me.

        
        

        So after about seven years, my mom was just like, I don't know, you don't really seem like you want to do it anymore. And so then I ended up getting a guitar and kind of teaching myself how to play.

        
        

        But I always did, you know, like chorus and all that kind of stuff, like show choir and stuff like that. But it really was kind of a therapeutic thing for me, I think, from the get go.

        
        

        I kind of started like writing my own songs when I was really young, even before I knew how to like put music to them. And I had like all these horrible little tapes and me singing acapella and I used to do a lot of like dance and theater and stuff like that.

        
        

        Then I just really decided that I didn't want to do that so much anymore and I just wanted to play. So kind of gave up all my other 20,000 hobbies, all the sports and cheerleading and all that, and decided I was gonna play guitar.

        
        

        And now in the project I'm playing in now, I really just sing mostly. I mean, I write a lot of the songs on guitar, on piano, but then I end up just kind of singing. I still play on some of the.

        
        

        Speaker C

        00:01:31.120 - 00:01:37.760

        When you first jumped over to guitar and you were writing your own stuff, what were you listening to that was influencing where those early things were coming from?

        
        

        Speaker B

        00:01:38.160 - 00:02:30.190

        Hard to say. A lot of it is embarrassing because I think that, you know, the 80s were just such a bad time for music in like early 90s and stuff like that.

        
        

        But I remember one of the first songs that I remember hearing when I was like maybe 10 or 11 was that Stanley Brothers song Counting Flowers on the Wall. And I don't know why I thought that song was so cool.

        
        

        And my mom hated it because it was, you know, said like smoking cigarettes and all that, but that was like the coolest song. But, you know, I listened to a lot of bad stuff too. I mean, I was of course like, Alanis Morissette was awesome and Fiona Apple and.

        
        

        Not that anything wrong with them, but I just don't. I just don't really relate to it much anymore.

        
        

        Yeah, I was big into Fiona Apple and I mean, I always, you know, my parents listened to a lot of like 60s, 70s type of music and so I always had that kind of in the background. But I. I didn't really think it was cool until, you know, I was about 20 or something.

        
        

        Speaker C

        00:02:30.590 - 00:02:33.390

        What was it that you could handle listening to that your parents were playing?

        
        

        Speaker B

        00:02:34.030 - 00:03:05.900

        My dad always had the Beach Boys on and I really liked that. But then after a while I got really tired of it and I'd always be like, can you put something else on? You know, And I mean I.

        
        

        Even when I was like 13, 14, I like into rap and you know, all the, all the stuff that teenagers get into. So I really like, you know, I'd be like, I want to listen to Eminem and all this stuff. And my mom was like, what are you doing?

        
        

        This is horrible music. We always kind of could agree on something.

        
        

        I think it's just that, like those early teenage years that were hard to understand where I was coming from or where they were coming from.

        
        

        Speaker C

        00:03:06.540 - 00:03:10.620

        As you were writing these early guitar songs yourself, where did that lead for you?

        
        

        Speaker B

        00:03:11.100 - 00:04:54.020

        I really just got into folk music and I wanted to be like Joan Baez or Tony Mitchell or, you know, and then Bob Dylan. Like when I found Bob Dylan, it was like right about when I moved to Nashville. And I'd always heard of him and I'd heard his, like, his main hits.

        
        

        But somebody gave me like the essential Bob Dylan. And I didn't have a job yet down here. I was like staying alone. I'd wrecked my car. I had no way to get anywhere. Like I was just.

        
        

        I was living in Antioch. It wasn't even Nashville, 20 minutes outside of Nashville. So I really got into like the folk movement of the 60s and stuff.

        
        

        And I met Jeremy, my husband, and he knew like every Bob Dylan song under the sun. So he would just sit around and pick like old folk songs.

        
        

        I think like that's what I started off really like focusing on was like country and that whole side of things, the softer, more like lyrical side of things. And I started recording on a rolling eight track digital recorder and making all these demos.

        
        

        And then after a while I was always hanging out with all these guys who were playing rock and roll and I guess it started to wear off on me. And I always felt left out. Because they were always jamming, and I just had an acoustic guitar. So they started playing drums with a couple.

        
        

        I started playing. Jeremy was playing with this guy named Jake Shore, who, immensely talented and just kind of has never, you know, just never got out there.

        
        

        And I played drums with them for a little while, and then I just got to playing, like, with a band behind me, and I realized how much more powerful it was. I just don't think many people have the attention span to sit and listen to folk music really anymore.

        
        

        I mean, there are venues that, you know, like, that do that. But I just realized that if I had a band behind me, people had to shut up and listen. So that kind of. It was like. It was an eye opener for sure.

        
        

        Speaker C

        00:04:54.420 - 00:05:01.540

        So you're kind of late to the game then, or late to the appreciation of country music. What sort of country was impacting you at that point?

        
        

        Speaker B

        00:05:01.860 - 00:05:51.510

        I remember somebody taught me how to play Long Black Sail. My uncle, My great uncle. He had moved to Nashville and he wrote, like, a bunch of songs in, like, the. I guess through the 70s.

        
        

        So he had written a bunch of songs for, like, I don't know, Reba McIntyre and Blackhawk and, you know, kind of, like mainstream country artists stuff. But he had known the person who, like, wrote that song and that kind of hit home with me. And I went back and dove into all the.

        
        

        All the older country stuff. I always feel just this great pull of, do I want to play rock and roll or do I want to play country music?

        
        

        It's so hard to narrow it down because we just get bored really easily. I don't know.

        
        

        We try to stay open to doing a lot of that, but I feel like it's been sort of destructive in a way, because we'll have a song that's like country song and somebody likes that, and then our next song is psychedelic rock and roll, and it can scare people.

        
        

        Speaker C

        00:05:52.630 - 00:06:02.350

        So then you wandered through some different things, from playing folk to picking up the drums to play for another band. So what led to the core of Buffalo Clover forming?

        
        

        Speaker B

        00:06:02.350 - 00:08:09.960

        Originally, oddly enough, Jeremy and I started a band that was called Secret Handshake. And we looked it up online, and I didn't see anybody with that name. And so we started playing with that and.

        
        

        And at that point, we'd gotten into the Kinks. That was like our bread and butter. We just learned, like, every Kink song. I just. I loved that they. Many of their songs had, like, political messages.

        
        

        And so we were writing all these. I mean, every song. We decided that we didn't Want to write any song about love or anything that anybody was doing we wanted to write.

        
        

        We wrote a song that was called Bloodshed, another one called Architects of War. I mean it was songs that were like Dead End street and stuff like that. We cleared rooms for sure with our views.

        
        

        And after a while we just realized that it was just not easily digestible to people. I mean, some people would find us and they would love it. I mean they thought it was amazing, but it was like most of the time it just scared people.

        
        

        So we ended up changing our name of that band because there was another band that was called the Secret Handshake and they were. They'd been around longer. So we decided to change our name and kind of refocus what we were doing.

        
        

        And Jeremy and I had been real on again, off again and just in our relationship. And so I of course started writing songs about him and writing songs about love again and all that.

        
        

        So then we just kind of reformed and looked at what we were doing and kind of adjusted some things. And so then him and I started playing together. And Jason, who's still with us, he plays bass with us.

        
        

        Jason White joined and then we've been through a whole slew of drummers finally. Then we met Matt Gardner and things kind of started to click into place a little bit more. And so since then it's been.

        
        

        I mean it's definitely been the three of us. Jason's been kind of on and off a little bit because he went to nursing school and he finished up with that. But now he's kind of.

        
        

        He's wanting to tour even more than we possibly can now. So he's got a good basis going. And my friend Dylan's been playing with us for a while and he. I feel like he has really.

        
        

        Now that we have a drummer, it's just kind of like really shaped everything. Drummers are so important, so hard to come by in town. There's just. They just are always in like a million projects.

        
        

        We're just lucky that he's kind of committing himself to us.

        
        

        Speaker C

        00:08:10.440 - 00:08:17.240

        So talk about the first releases that came from Buffalo Clover. What led to you all recording those songs?

        
        

        Speaker B

        00:08:17.640 - 00:09:57.050

        The first release was Pearls to Swine and I think I wrote about 10 of the songs and then Jeremy and I co wrote two.

        
        

        So that was kind of just our first project and we recorded it at the bomb shelter here and everything was done analog on tape and everything even back then. And so we kind of recorded those songs. But then, you know, we didn't have anyone to help us with booking or. We didn't have a publisher.

        
        

        Like, we didn't. I didn't even, like, copyright the songs. I just was like, well, if somebody wants to feel them, that's fine, because I'll just write more.

        
        

        I just didn't want to deal with the paperwork, you know, it just. All of it overwhelmed me, and I just didn't really know how to go about anything.

        
        

        I have, you know, I had my uncle who's in the music business, but I just, you know, I wasn't going to bother him by asking him how to do anything. So we just kind of wrote him and then we went out.

        
        

        I mean, I booked for myself under a fake name for a while and just, you know, the songs just kind of sat there. And then we have slowly been taking it more seriously. I mean, I've always wanted, you know, wanted to do it. It's just.

        
        

        It's just so hard to get the right things in the right hands of the right people. So after that, then we recorded Strong Medicine, and that was with Matt Gardner. He was with us on that.

        
        

        And then from that, then we met the guys from Palover Records who've just been kind of helping us out doing what they can. They're, you know, they're really sweet guys, and they just are helping us out of the kindness of their own heart and their pockets.

        
        

        It's good to have, you know, just to have people keeping me on my toes with like. Like, okay, you need to send in your songs and you need to make sure that they're copyrighted and, you know, things that I.

        
        

        That I do not want to do, they forced me to do them. Hey, this is Margot Price from Buffalo Clover, and you're listening to Country Fried Rocks.

        
        

        Speaker C

        00:09:57.130 - 00:09:58.970

        The creative versus the business end.

        
        

        Speaker B

        00:09:58.970 - 00:10:10.970

        Yeah, exactly. And that's what I feel like that's what we've been lacking for just for so long is I just don't have the patience to do it.

        
        

        I mean, I get, you know, I get online and I do some stuff, but it's like pulling teeth to get me to fill out anything.

        
        

        Speaker C

        00:10:11.130 - 00:10:19.530

        I've heard a little bit of Pearls to Swan, and then I've heard all of Strong Medicine. So what led to the changes that led to this third record, Low Down Time?

        
        

        Speaker B

        00:10:20.080 - 00:10:59.700

        Well, we had taken a break because we had kids, and so I had. Basically, it was like....]]>6e29daac-c84a-46ee-803b-8fd401ff4c3cFri, 05 Dec 2025 02:02:00 -040023:05truefull12101210Country Fried Rock 1209: Laurence Scott of The Famous, From Punk to PlinySummary

        From 2012: Sloane Spencer and Laurence Scott of The Famous dive deep into the vibrant intersection of classic country and punk rock in this episode of Country Fried Rock, laying down the unique sound that defines their music. They explore how their roots in the Dallas music scene have influenced their creative journey, blending genres like a master chef whipping up a signature dish. With a laid-back vibe, they reminisce about their formative years, sneaking into clubs and soaking in the raw energy of live performances, which they now channel into their own shows. The duo also dishes out insights on songwriting, emphasizing that their lyrics often go beyond the surface, tapping into deeper themes of connection and introspection. It’s a delightful chat that celebrates the beauty of music as a communal experience, where even fans can scribble their stories in the “book of the famous” at their gigs.

        Chapters

        • 00:00 - Introduction to Country Fried Rock
        • 03:27 - The Evolution of Sound: From Dallas to the Stage
        • 06:05 - Exploring the Essence of Our Music
        • 09:21 - The Impact of Music Across Borders
        • 14:22 - Exploring Musical Collaborations and Influences
        • 18:16 - The Evolution of Craft Brewing
        
        

        Show Notes

        Sloane Spencer dives deep into a laid-back chat with Lawrence, exploring the vibrant tapestry of musical influences that shape their sound. With a nod to nostalgia, they reminisce about the days of classic country mixed with punk rock, a genre fusion that feels like a party where everyone’s invited. Lawrence shares tales from the road, recalling the eclectic radio stations of Texas that served as a backdrop for his musical upbringing. He paints a picture of the Dallas music scene, where punk rock and alt-country intertwined, giving birth to a sound that’s both familiar and fresh. The duo banters about their own influences, from the Pixies to Johnny Cash, and how each note they play is a tribute to the rich musical heritage they stand on. Through laughter and anecdotes, they unearth the gritty essence of their music, which channels raw emotion rather than just storytelling, making it resonate with listeners on a deeper level.

        Takeaways

        • Sloane and Lawrence vibe hard on how music blends classic country with punk rock, creating a unique sound that’s not just nostalgic but also fresh and lively.
        • The good folks at Country Fried Rock dive deep into the influences of radio stations, especially in Dallas, which shaped the eclectic tastes of musicians in the area and beyond.
        • They chat about the storytelling in their music, revealing that beneath the surface of catchy tunes, there are profound themes reflecting raw emotions and societal observations.
        • The band’s approach to live performances is all about authenticity; they emphasize that their shows are genuine expressions of their musical journey, not just a staged act.
        • Sloane shares the importance of community engagement through their music, highlighting how they connect with fans by getting them involved in the creative process, like signing their 'book of the famous'.
        • The conversation takes a tasty turn as they discuss their love for craft beer and how it plays a significant role in their music scene and shows, blending food, drink, and music into a fun experience.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • The Famous are still around
        • You may also enjoy this conversation from 2015 with Rob Keller of 6 String Drag (and Welfare Liners, Workhorses of the Entertainment and Recreation Industry, Roberto Adega)
        • Toss a few in our Tip Jar!
        
        

        Mentioned in this Episode

        • Doc Martens
        • George Gamark
        • The Edge
        • Pixies
        • X
        • Reverend Horton Heat
        • Social Distortion
        • Modest Mouse
        • Old 97s
        • Toadies
        • Diesel Boy
        • FAT Records
        • HDNet
        • Russian River Brewing Company
        • 21st Amendment
        • Elizabeth Brewery
        • Gordon Biersch
        • Anderson Valley
        • Pliny the Elder
        • Slim Cessna's Auto Club
        • Drag the River
        • Reverend Peyton's Big Damn Band
        • Calexico
        • Neko Case
        • Tom Waits
        • Oz Fritz
        • Aaron Prelwitz
        • Stuart Sykes
        • Jack White
        • Loretta Lynn
        • Bakersfield country music
        
        

        Recommended If You Like

        country fried rock, Americana music, punk rock, classic country, music interviews, creative inspiration, 90s alternative rock, Texas music scene, live music performances, songwriting process, DIY music industry, underground music culture, beer and music, storytelling in music, Southern Gothic themes, music collaboration, craft beer and music, musical influences, alternative country, band dynamics

        Transcript

        Speaker A

        00:00:00.800 - 00:00:12.320

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey, Lawrence, thanks so much for being with us on Country Fried Rock.

        Speaker B

        00:00:12.320 - 00:00:34.650

        Sloane, thank you very much.

        
        

        I feel that this is almost a set of kindred spirits making acquaintances here, because when you talk about what the famous is, a shot of classic country with a post punk chaser, I mean, the idea really is music and. And, well, I'd say liquor, but there's also a lot of beer involved and especially food. I mean, that's very much what we're about.

        
        

        Speaker A

        00:00:34.970 - 00:00:38.170

        Awesome. So I don't have to hide the fact that I owned Doc Martens at one point in my life.

        
        

        Speaker B

        00:00:38.330 - 00:01:31.180

        No, I had green ones and blue ones. We went outside of the box on that. That's exactly where we are with our sound, by the way, that 90s era sound, you know, what it came out of.

        
        

        And it's cool when you talk to radio people because they get this. There's a couple of stations in the South.

        
        

        I'm from Dallas, and they had a station where it was a punk rock guy that started this station, or it was one of the main DJs, George Gamark, in Dallas, the Edge. And they were playing music that you just simply wouldn't have in Oklahoma City, for instance.

        
        

        Funny, because I'm not calling Oklahoma City a wasteland. But Tulsa had a cool alternative rock radio station. Dallas had one. Houston didn't, for instance. Not that I knew of.

        
        

        But the kind of music that you start hearing, I'm talking the Pixies and X, you know, you know, which so much new wave. But like, you. You kind of got an influence for this that you simply wouldn't have had if it was just playing, you know, Def Leppard over and over.

        
        

        Speaker A

        00:01:31.180 - 00:01:38.660

        And speaking of total craziness there, you know, X. Exene Czervenka, their lead singer, has a couple of fantastic Americana alt country records out.

        
        

        Speaker B

        00:01:38.660 - 00:03:25.360

        Yeah, she sings on an alt country album with the old 97s from the early 90s, right? Yes. We're fans. We see them every time they come. We tout this like this is. We say, you know, well, what does this sound like? What's your band?

        
        

        It's like a marriage between classic country and punk rock. It's as Buck Owens, Johnny Cash as it is X.

        
        

        And the Pixies, people tell us they hear, like, Reverend Horton Heat or Social Distortion or Modest Mouse influences in the song. They're right. Ness keeps making it happen.

        
        

        I mean, this album just now, I mean, like, it's definitely Definitely what we're about, especially here in California. Sure. For us that's definitely the sound. Another Dallas. I used to see shows in what they call the deep Ellum district in Dallas.

        
        

        And it was really kind of an honor because one of the bands that I just always really was super into and I was just, you know, I was actually sneaking into clubs. The Toadies. They got out on the radio with this song that was a very big hit. But their band is so much bigger than that.

        
        

        Actually we just played with them here in San Francisco and that was extremely cool. I think I would say I was influenced at the time. I was like 14, 15 years old, pretending like I was what, 21.

        
        

        I had big horner black glasses, so tried my best to keep my voice as low as possible. Side deals here and there, but got into these clubs and I would see these shows. Especially this guy Todd Lewis of the Toady's. He was so charismatic.

        
        

        I was. Now that is something to do.

        
        

        And Dallas had a great freakout rock music scene that was a bit southern music, but mostly kind of like taking where ZZ Top had gone and turning it on its ear and bringing out, you know, a lot of energy and craziness. I mean that's kind of what our show is about. It's like this frenzy, this fervor.

        
        

        But for me it really did start like watching the Reverend Horton Heat the Toadies and seeing this up close and personal in small clubs in Dallas.

        
        

        Speaker A

        00:03:25.990 - 00:03:27.750

        So when did you learn to...]]>Summary

        From 2012: Sloane Spencer and Laurence Scott of The Famous dive deep into the vibrant intersection of classic country and punk rock in this episode of Country Fried Rock, laying down the unique sound that defines their music. They explore how their roots in the Dallas music scene have influenced their creative journey, blending genres like a master chef whipping up a signature dish. With a laid-back vibe, they reminisce about their formative years, sneaking into clubs and soaking in the raw energy of live performances, which they now channel into their own shows. The duo also dishes out insights on songwriting, emphasizing that their lyrics often go beyond the surface, tapping into deeper themes of connection and introspection. It’s a delightful chat that celebrates the beauty of music as a communal experience, where even fans can scribble their stories in the “book of the famous” at their gigs.

        Chapters

        • 00:00 - Introduction to Country Fried Rock
        • 03:27 - The Evolution of Sound: From Dallas to the Stage
        • 06:05 - Exploring the Essence of Our Music
        • 09:21 - The Impact of Music Across Borders
        • 14:22 - Exploring Musical Collaborations and Influences
        • 18:16 - The Evolution of Craft Brewing
        
        

        Show Notes

        Sloane Spencer dives deep into a laid-back chat with Lawrence, exploring the vibrant tapestry of musical influences that shape their sound. With a nod to nostalgia, they reminisce about the days of classic country mixed with punk rock, a genre fusion that feels like a party where everyone’s invited. Lawrence shares tales from the road, recalling the eclectic radio stations of Texas that served as a backdrop for his musical upbringing. He paints a picture of the Dallas music scene, where punk rock and alt-country intertwined, giving birth to a sound that’s both familiar and fresh. The duo banters about their own influences, from the Pixies to Johnny Cash, and how each note they play is a tribute to the rich musical heritage they stand on. Through laughter and anecdotes, they unearth the gritty essence of their music, which channels raw emotion rather than just storytelling, making it resonate with listeners on a deeper level.

        Takeaways

        • Sloane and Lawrence vibe hard on how music blends classic country with punk rock, creating a unique sound that’s not just nostalgic but also fresh and lively.
        • The good folks at Country Fried Rock dive deep into the influences of radio stations, especially in Dallas, which shaped the eclectic tastes of musicians in the area and beyond.
        • They chat about the storytelling in their music, revealing that beneath the surface of catchy tunes, there are profound themes reflecting raw emotions and societal observations.
        • The band’s approach to live performances is all about authenticity; they emphasize that their shows are genuine expressions of their musical journey, not just a staged act.
        • Sloane shares the importance of community engagement through their music, highlighting how they connect with fans by getting them involved in the creative process, like signing their 'book of the famous'.
        • The conversation takes a tasty turn as they discuss their love for craft beer and how it plays a significant role in their music scene and shows, blending food, drink, and music into a fun experience.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • The Famous are still around
        • You may also enjoy this conversation from 2015 with Rob Keller of 6 String Drag (and Welfare Liners, Workhorses of the Entertainment and Recreation Industry, Roberto Adega)
        • Toss a few in our Tip Jar!
        
        

        Mentioned in this Episode

        • Doc Martens
        • George Gamark
        • The Edge
        • Pixies
        • X
        • Reverend Horton Heat
        • Social Distortion
        • Modest Mouse
        • Old 97s
        • Toadies
        • Diesel Boy
        • FAT Records
        • HDNet
        • Russian River Brewing Company
        • 21st Amendment
        • Elizabeth Brewery
        • Gordon Biersch
        • Anderson Valley
        • Pliny the Elder
        • Slim Cessna's Auto Club
        • Drag the River
        • Reverend Peyton's Big Damn Band
        • Calexico
        • Neko Case
        • Tom Waits
        • Oz Fritz
        • Aaron Prelwitz
        • Stuart Sykes
        • Jack White
        • Loretta Lynn
        • Bakersfield country music
        
        

        Recommended If You Like

        country fried rock, Americana music, punk rock, classic country, music interviews, creative inspiration, 90s alternative rock, Texas music scene, live music performances, songwriting process, DIY music industry, underground music culture, beer and music, storytelling in music, Southern Gothic themes, music collaboration, craft beer and music, musical influences, alternative country, band dynamics

        Transcript

        Speaker A

        00:00:00.800 - 00:00:12.320

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey, Lawrence, thanks so much for being with us on Country Fried Rock.

        Speaker B

        00:00:12.320 - 00:00:34.650

        Sloane, thank you very much.

        
        

        I feel that this is almost a set of kindred spirits making acquaintances here, because when you talk about what the famous is, a shot of classic country with a post punk chaser, I mean, the idea really is music and. And, well, I'd say liquor, but there's also a lot of beer involved and especially food. I mean, that's very much what we're about.

        
        

        Speaker A

        00:00:34.970 - 00:00:38.170

        Awesome. So I don't have to hide the fact that I owned Doc Martens at one point in my life.

        
        

        Speaker B

        00:00:38.330 - 00:01:31.180

        No, I had green ones and blue ones. We went outside of the box on that. That's exactly where we are with our sound, by the way, that 90s era sound, you know, what it came out of.

        
        

        And it's cool when you talk to radio people because they get this. There's a couple of stations in the South.

        
        

        I'm from Dallas, and they had a station where it was a punk rock guy that started this station, or it was one of the main DJs, George Gamark, in Dallas, the Edge. And they were playing music that you just simply wouldn't have in Oklahoma City, for instance.

        
        

        Funny, because I'm not calling Oklahoma City a wasteland. But Tulsa had a cool alternative rock radio station. Dallas had one. Houston didn't, for instance. Not that I knew of.

        
        

        But the kind of music that you start hearing, I'm talking the Pixies and X, you know, you know, which so much new wave. But like, you. You kind of got an influence for this that you simply wouldn't have had if it was just playing, you know, Def Leppard over and over.

        
        

        Speaker A

        00:01:31.180 - 00:01:38.660

        And speaking of total craziness there, you know, X. Exene Czervenka, their lead singer, has a couple of fantastic Americana alt country records out.

        
        

        Speaker B

        00:01:38.660 - 00:03:25.360

        Yeah, she sings on an alt country album with the old 97s from the early 90s, right? Yes. We're fans. We see them every time they come. We tout this like this is. We say, you know, well, what does this sound like? What's your band?

        
        

        It's like a marriage between classic country and punk rock. It's as Buck Owens, Johnny Cash as it is X.

        
        

        And the Pixies, people tell us they hear, like, Reverend Horton Heat or Social Distortion or Modest Mouse influences in the song. They're right. Ness keeps making it happen.

        
        

        I mean, this album just now, I mean, like, it's definitely Definitely what we're about, especially here in California. Sure. For us that's definitely the sound. Another Dallas. I used to see shows in what they call the deep Ellum district in Dallas.

        
        

        And it was really kind of an honor because one of the bands that I just always really was super into and I was just, you know, I was actually sneaking into clubs. The Toadies. They got out on the radio with this song that was a very big hit. But their band is so much bigger than that.

        
        

        Actually we just played with them here in San Francisco and that was extremely cool. I think I would say I was influenced at the time. I was like 14, 15 years old, pretending like I was what, 21.

        
        

        I had big horner black glasses, so tried my best to keep my voice as low as possible. Side deals here and there, but got into these clubs and I would see these shows. Especially this guy Todd Lewis of the Toady's. He was so charismatic.

        
        

        I was. Now that is something to do.

        
        

        And Dallas had a great freakout rock music scene that was a bit southern music, but mostly kind of like taking where ZZ Top had gone and turning it on its ear and bringing out, you know, a lot of energy and craziness. I mean that's kind of what our show is about. It's like this frenzy, this fervor.

        
        

        But for me it really did start like watching the Reverend Horton Heat the Toadies and seeing this up close and personal in small clubs in Dallas.

        
        

        Speaker A

        00:03:25.990 - 00:03:27.750

        So when did you learn to play an instrument?

        
        

        Speaker B

        00:03:27.910 - 00:04:14.680

        I'm still learning. I am not the total musician of the band. I self taught myself on guitar. But our band's players have been lifelong musicians. Vic is our lead guitarist.

        
        

        Vic Barclay. He can play anything. I mean any instrument. You hand him anything, he can figure it out in five minutes. He's amazing.

        
        

        Our bassist GD another guy from Houston, Texas, played in a band, Diesel Boy, a punk band for years and toured. Very successful band, affiliated with FAT Records. And he went to music school. He's solid, you know, solid, solid, solid. Our drummer is our backbone.

        
        

        I mean he's amazing drummer that, you know, played all his life. Me, I'm kind of the storyteller, the showman, the carnival barker. I can play an acoustic guitar and I'm not bad.

        
        

        But that's not the focal point of the show.

        
        

        Speaker A

        00:04:14.920 - 00:04:17.400

        When you first decided to pick it up, then what were you doing?

        
        

        Speaker B

        00:04:17.640 - 00:05:06.250

        I would say this and I tell anybody like who wants to get into starting to play the guitar. You get a cheap electric guitar so you can push down the strings. You Know, junk store electric guitar.

        
        

        Just so I could just keep practicing and getting the hand placement and stuff down at first, but. And I wasn't hiding it. I was just hanging out.

        
        

        I. I never really thought of learning to play the instrument as, like, what my role would be in a music project, which is ridiculous in some ways, because it did for years in another band. I was in kind of hold things back. What do they say? It's that guy. You do something for 10 years and you can finally do it. That book.

        
        

        It's not the Tipping Point, or there's one of those. The guy. The guy with the crazy hair. That was kind of the deal with me playing. I'm not the musician in the band.

        
        

        I mean, I'm in the band, but I'm not the musician. These other guys really are the musical foundation for the band. So that question. I wish I could port them in to answer that.

        
        

        Speaker A

        00:05:06.250 - 00:05:09.090

        But somehow you end up writing for the band.

        
        

        Speaker B

        00:05:09.330 - 00:06:04.890

        Yeah. Victor and I are the primary songwriters. You know, he can come up with a kernel of an idea for the music. And I will expand on that.

        
        

        I am the lyricist of the band and come at a lot of things with ideas for what a course would be or where we're trying to go with sort of the imagery of the song. I mean, it's important to me to express thoughts beyond just, like, kind of the obvious. In our song.

        
        

        Some of our songs, people think that they're like breakup songs. And really, in some regards, yeah, sure, they could be. But it's kind of also an acknowledgement that we have limited resources.

        
        

        And if we're to be saved from ourselves in this closing window that we have that we're kind of looking at into this future here, we might get passed over. So what could be done? Acting on it, Just using impulses to do something that's kind of imperative right now.

        
        

        And like, I don't say the music's a call to action, but it's not always what it exactly seems to be.

        
        

        Speaker A

        00:06:05.290 - 00:06:08.330

        What sort of themes, then, are pushing you with those calls to action?

        
        

        Speaker B

        00:06:08.490 - 00:08:07.310

        I mean, it starts at the roots of what the music is about. I mean, it is in the tradition of, like, Bakersfield country music. There's something that's a snarl in this music.

        
        

        It's like a reclamation, having some quiet confidence, knowing that your own intuition is what serves you best. Not letting yourself be fooled by false prophecies. Taking your most inner, most guttural feelings and expanding on that.

        
        

        This music is more about raw emotion than it is trying to say something specific in A story. And that's a little bit different in Americana, but in rock, that's obviously something that really does fit. It's all tied together.

        
        

        I mean, the title track of our album, Come Home to Me, fairly self explanatory. I mean, the lyrics directly tell the story. Nothing is hidden.

        
        

        We have a video that tells a deeper story of the evolution of being born and then working and then dying. You know, in some cases, this is a little bit too dark. I mean, traditional channels were kind of like. I don't. I like.

        
        

        There's been some people like HDNet who really have glommed onto the video and other video channels who've played it. But that. That. That's a story that. I mean, it's a classic country story.

        
        

        Going down to the river, but he finds the woman in the river and she's not with somebody else, she's laying down in the river and the story unfolds. I encourage people to hear that song. It's. That's a fun story song, that song. The story really is the story. More Southern Gothic in its tones.

        
        

        There's nothing here. Of all the songs on the album, the title track, that is exactly what it is.

        
        

        But there's another song that we have that there really aren't lyrics other than Mono Negra. It's back. That's what it's for. Just repeats on a loop. And I've also had songs like on our previous album, Light Sweet Crude.

        
        

        The first song on the album, Son of the Snake. Basically the mantra that keeps spinning and spinning is mind over matter. Doesn't matter when you've lost your mind over matter.

        
        

        Doesn't matter when you've lost your mind over matter. Keeps going. And there's some speaking in tongues in the album. And like, it brings out sort of different space. You.

        
        

        You can get a little bit more immersed in the song in a different way than if you were just listening for. Well, here's the story being laid out to you.

        
        

        Speaker A

        00:08:07.310 - 00:08:09.549

        And so does that come from a religious perspective for you?

        
        

        Speaker B

        00:08:09.549 - 00:08:11.950

        All spiritual, not necessarily religious.

        
        

        Speaker A

        00:08:12.030 - 00:08:15.470

        How do you find that that plays out? Coming from the south and then moving to California?

        
        

        Speaker B

        00:08:15.630 - 00:09:17.810

        Well, there are people here who. I'm surprised. You know, the best thing about music that I found is there are people that will find you that are coming at things from such different.

        
        

        You would have never expected we could have said, well, this is who we want, the audience. And I'm telling you, that is not at all who the audience is.

        
        

        And now it's just like this giant open book and we actually Bring a giant book to our shows as part of the show. And it is sort of like a revival thing. We send out the book, get people signing the book and inscribing themselves in the book of the famous.

        
        

        We make a big deal.

        
        

        Inscribe yourself in the book of the famous, like let us know something about you and then starting point to talk or get emails or ways to reconnect with people to make sure that they can, you know, find us again. I find that, you know, if you went out and said, okay, this is who the audience that we want. That's not reality.

        
        

        And it's amazing to me how many different parts of the country, different parts of the world, really, I would tell you we have sold more records.

        
        

        I mean, I hope I'm not selling anybody out here giving away business secrets, but like, we have sold more records in Germany, Belgium, the Netherlands, pockets of the UK than we do in the United States.

        
        

        Speaker A

        00:09:17.970 - 00:09:19.410

        That doesn't surprise me at all.

        
        

        Speaker B

        00:09:19.870 - 00:09:43.310

        We have really.

        
        

        I would love to say we had a plan to go to these folks maybe one day, but I'm intrigued by the half a world away, there are people experiencing this thing that I may never ever meet them. Here in Northern California, we do play a lot. So we do meet a lot of the people that really do enjoy the music.

        
        

        And it's just fascinating to me the way that this all works now that somebody could be listening to this, you know, halfway across the world.

        
        

        Speaker A

        00:09:43.310 - 00:09:50.430

        Yeah, anywhere. And that is one of the incredible things about the ability of our instant communication. What else has worked for you all with that?

        
        

        Speaker B

        00:09:50.800 - 00:10:24.310

        You know, we've done every single thing. We have two albums and have done, I mean, the traditional and then the non traditional.

        
        

        I think the thing that seems to work the best, I mean, and there's some people who are making like really like big careers out of this is some video stuff. Victor, our lead guitarist and, you know, co founder of the band, he really, really got into social media stuff for the band very, very early.

        
        

        It's part of what he does. And he's just these really a great technical guy as much as he is a great person, a great musician. And that really has helped us connect with people.

        
        

        Speaker A

        00:10:24.630 - 00:10:42.310

        You were talking a little bit about the spectacle of your live performance.

        
        

        It made a little thing run through my head of, you know, I kind of get the revival thing and I get the using some of those techniques in the live performance. Where have you all played that? It has surprised you of how well it's been received, the performance, not just the...]]>4726cba4-739a-44d9-9404-014c4ec0cd54Fri, 28 Nov 2025 02:02:00 -040022:09truefull12091209Country Fried Rock 1207: Brett Detar of the Juliana Theory From Vintage Clothes to Vinyl RecordsSummary

        From 2012: Brett Detar drops into the Country Fried Rock scene, bringing a whole lot of musical wisdom and a splash of nostalgia. He dives into the wild ride of his creative journey, from cranking out tunes in his childhood to blasting off on a solo endeavor that’s as authentic as it gets. The convo covers everything from the chaotic joy of touring to the heartwarming stories behind his songwriting process, revealing how his love for Americana and classic rock shaped his latest record. Brett’s not just about the music, though; he’s got a keen sense of how to connect with fans, even going so far as to give away his record for free to build a real connection. So, if you’re down for some sweet tunes and insightful chats about the ups and downs of the music biz, this episode’s a must-listen!

        Show Notes

        Country Fried Rock takes a deep dive into the colorful world of music, where creativity and stories mix like a wild honky-tonk dance.

        Brett Detar, the star of the episode, opens up about his jam-packed journey, starting with a brutal tour that wrapped up just hours before a music conference in Nashville.

        The convo bounces around from:

        • A spontaneous 12-hour drive from Salt Lake City to LA, just to grab tacos and flaming margaritas.
        • The crazy, energetic vibes of the Americana conference, where Brett rubbed elbows with fellow musicians.
        • Through it all, it’s clear that Brett’s not just a musician, he’s a musical nomad, always on the move and influenced by the adventures he’s had on the road.
        
        

        He talks about how his musical roots were planted early, thanks to:

        • A grandmother who was into music.
        • A dad who sang in a gospel group.
        • From first grade, where he was already scribbling song ideas while waiting in line for the restroom, the music bug bit hard and never let go.
        
        

        The episode captures that unmistakable feeling of a musician’s journey, full of serendipity, a love for storytelling, and the constant quest for artistic truth.

        Brett reflects on how his early love for punk and indie rock evolved into a deep connection with Americana and country music, ultimately inspiring his solo record, which speaks straight from the heart.

        This episode is a celebration of:

        • Creativity
        • The struggle with self-doubt
        • The pure joy of chasing your passion
        
        

        A must-listen for anyone curious about the stories behind the songs and the wild ride of being a musician.

        Chapters

        • 00:00 - Introduction to Country Fried Rock
        • 01:36 - The Journey of a Musician: From Early Influences to Solo Pursuits
        • 13:53 - The Journey to Creating My First Solo Record
        • 20:15 - The Evolution of My Music
        • 28:39 - The Journey into Film Scoring
        
        

        Takeaways

        • Brett Detar shared his journey from a kid writing songs in school to carving out a solo career, emphasizing how music has been a lifelong passion shaped by family influences and personal experiences.
        • The transition from band life to solo artistry for Brett involved an exploration of new musical styles, reflecting a natural evolution influenced by years of listening to Americana and country legends like Townes Van Zandt and Loretta Lynn.
        • Brett's decision to give away his first solo record for free stems from a desire to reach a broader audience, testing a new model of music distribution without the constraints of traditional label support.
        • In the podcast, Brett humorously recounted his whirlwind tour schedule, highlighting the absurdity and adventure of driving across states for shows, which often leads to unexpected encounters and stories.
        • Brett revealed the challenges of songwriting in a film scoring context, where he learned to serve the film's narrative rather than his own artistic impulses, emphasizing the distinct worlds of independent music and Hollywood.
        • The conversation highlighted the importance of authenticity in music, with Brett discussing how true artistry involves following one's heart and not merely chasing commercial success, a theme echoed throughout the episode.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • Brett Detar (via the Wayback Machine), also of The Juliana Theory
        • You may also enjoy this conversation with Mike Montali, then of Hollis Brown, now of Fantastic Cat
        • Toss a few in our Tip Jar!
        
        

        Mentioned in this Episode

        • Loretta Lynn
        • Townes Van Zandt
        • Waylon Jennings
        • Guy Clark
        • Pete Young
        • Mastodon
        • Civil Wars
        • Hank Williams
        
        

        Recommended If You Like

        country music podcast, Americana music, Nashville music scene, creative process for musicians, songwriting inspiration, tour experiences, indie music journey, musicians interviews, music production insights, Brett Detar interview, live music performances, free music downloads, music career decisions, music influences, DIY music culture, vintage clothes selling, recording studio experiences, music promotion strategies, emotional songwriting, independent artist success

        Transcript

        Speaker A

        00:00:00.800 - 00:00:11.920

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey Brett, thanks for being with us on Country Fried Rock.

        Speaker B

        00:00:11.920 - 00:00:13.200

        Thank you so much for having me.

        
        

        Speaker A

        00:00:13.200 - 00:00:19.840

        We're glad to have you here. I don't usually get to meet people before I interview them. We kind of ran into each other in Nashville at Americana. That was kind of nice.

        
        

        Speaker B

        00:00:20.000 - 00:00:21.520

        Very nice. I enjoyed it.

        
        

        Speaker A

        00:00:21.600 - 00:00:22.400

        You've been busy.

        
        

        Speaker B

        00:00:22.400 - 00:00:23.120

        Trying to be.

        
        

        Speaker A

        00:00:23.280 - 00:00:25.840

        What sort of adventures did you have over that trip?

        
        

        Speaker B

        00:00:26.000 - 00:01:22.670

        I had a lot of random adventures, I think just actually going to.

        
        

        It was an adventure in itself because I was on tour and I had finished, literally finished a tour, I believe, a day and a half before the conference started. Yeah, it was two days before. And so I literally. Last show was in Salt Lake City and I had to pick up some things at my house in LA.

        
        

        So I drove from Salt Lake City to LA in pretty much 12 hours. Got there at 10 o' clock at night just in time to go to my favorite Mexican restaurant and have a couple flaming margaritas.

        
        

        Then I went to bed, woke up the next morning and drove straight from LA to Nashville. Did that pretty much without stopping, and then got there and kind of just was like, you know, I couldn't really relax there either.

        
        

        So I just kind of hung out, ran around, met people, went to shows it by ear. But it was a good time. A lot of running around.

        
        

        Speaker A

        00:01:22.910 - 00:01:25.070

        You drive a lot? Not just for touring.

        
        

        Speaker B

        00:01:25.230 - 00:01:36.030

        I drive a lot in general, yes. To put it into perspective, I have a car that's three years old and it has 95,000 miles on it. And I did not buy it used.

        
        

        Speaker A

        00:01:36.670 - 00:01:42.830

        We'll go way back into how you started playing music originally. Did you get into it as a kid?

        
        

        Speaker B

        00:01:42.990 - 00:03:22.930

        I did, yeah. I think it's pretty much one of the standard stories. I had a grandmother who I still do, thankfully, who was very, very musical.

        
        

        And she almost forced me to take the family heirloom antique piano. Kind of made me take lessons. But at the same time, my dad was in a singing group when I was a kid.

        
        

        And like a big gospel singing group, I used to go to all the rehearsals and. And watch them. And I know that my dad and mom would sing to me every night.

        
        

        And so I just remember, I remember kind of always being intrigued by music. And it's a story that sometimes tell, but I kind of forgot about it for a while. But when I was. It was either first or second grade.

        
        

        A teacher, Ms. Sargent, and she took us all to the restroom, you know, when you're in first grade, they take the whole class. I remember standing in line to use the little boys room. And I was standing there and for some odd reason I decided to write a song. Okay.

        
        

        So I wrote like a verse and a chorus, maybe even two verses. And when I got back to the class, I asked the teacher if I could sing my song that I wrote in front of the class.

        
        

        And she was like, yeah,...]]>Summary

        From 2012: Brett Detar drops into the Country Fried Rock scene, bringing a whole lot of musical wisdom and a splash of nostalgia. He dives into the wild ride of his creative journey, from cranking out tunes in his childhood to blasting off on a solo endeavor that’s as authentic as it gets. The convo covers everything from the chaotic joy of touring to the heartwarming stories behind his songwriting process, revealing how his love for Americana and classic rock shaped his latest record. Brett’s not just about the music, though; he’s got a keen sense of how to connect with fans, even going so far as to give away his record for free to build a real connection. So, if you’re down for some sweet tunes and insightful chats about the ups and downs of the music biz, this episode’s a must-listen!

        Show Notes

        Country Fried Rock takes a deep dive into the colorful world of music, where creativity and stories mix like a wild honky-tonk dance.

        Brett Detar, the star of the episode, opens up about his jam-packed journey, starting with a brutal tour that wrapped up just hours before a music conference in Nashville.

        The convo bounces around from:

        • A spontaneous 12-hour drive from Salt Lake City to LA, just to grab tacos and flaming margaritas.
        • The crazy, energetic vibes of the Americana conference, where Brett rubbed elbows with fellow musicians.
        • Through it all, it’s clear that Brett’s not just a musician, he’s a musical nomad, always on the move and influenced by the adventures he’s had on the road.
        
        

        He talks about how his musical roots were planted early, thanks to:

        • A grandmother who was into music.
        • A dad who sang in a gospel group.
        • From first grade, where he was already scribbling song ideas while waiting in line for the restroom, the music bug bit hard and never let go.
        
        

        The episode captures that unmistakable feeling of a musician’s journey, full of serendipity, a love for storytelling, and the constant quest for artistic truth.

        Brett reflects on how his early love for punk and indie rock evolved into a deep connection with Americana and country music, ultimately inspiring his solo record, which speaks straight from the heart.

        This episode is a celebration of:

        • Creativity
        • The struggle with self-doubt
        • The pure joy of chasing your passion
        
        

        A must-listen for anyone curious about the stories behind the songs and the wild ride of being a musician.

        Chapters

        • 00:00 - Introduction to Country Fried Rock
        • 01:36 - The Journey of a Musician: From Early Influences to Solo Pursuits
        • 13:53 - The Journey to Creating My First Solo Record
        • 20:15 - The Evolution of My Music
        • 28:39 - The Journey into Film Scoring
        
        

        Takeaways

        • Brett Detar shared his journey from a kid writing songs in school to carving out a solo career, emphasizing how music has been a lifelong passion shaped by family influences and personal experiences.
        • The transition from band life to solo artistry for Brett involved an exploration of new musical styles, reflecting a natural evolution influenced by years of listening to Americana and country legends like Townes Van Zandt and Loretta Lynn.
        • Brett's decision to give away his first solo record for free stems from a desire to reach a broader audience, testing a new model of music distribution without the constraints of traditional label support.
        • In the podcast, Brett humorously recounted his whirlwind tour schedule, highlighting the absurdity and adventure of driving across states for shows, which often leads to unexpected encounters and stories.
        • Brett revealed the challenges of songwriting in a film scoring context, where he learned to serve the film's narrative rather than his own artistic impulses, emphasizing the distinct worlds of independent music and Hollywood.
        • The conversation highlighted the importance of authenticity in music, with Brett discussing how true artistry involves following one's heart and not merely chasing commercial success, a theme echoed throughout the episode.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • Brett Detar (via the Wayback Machine), also of The Juliana Theory
        • You may also enjoy this conversation with Mike Montali, then of Hollis Brown, now of Fantastic Cat
        • Toss a few in our Tip Jar!
        
        

        Mentioned in this Episode

        • Loretta Lynn
        • Townes Van Zandt
        • Waylon Jennings
        • Guy Clark
        • Pete Young
        • Mastodon
        • Civil Wars
        • Hank Williams
        
        

        Recommended If You Like

        country music podcast, Americana music, Nashville music scene, creative process for musicians, songwriting inspiration, tour experiences, indie music journey, musicians interviews, music production insights, Brett Detar interview, live music performances, free music downloads, music career decisions, music influences, DIY music culture, vintage clothes selling, recording studio experiences, music promotion strategies, emotional songwriting, independent artist success

        Transcript

        Speaker A

        00:00:00.800 - 00:00:11.920

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey Brett, thanks for being with us on Country Fried Rock.

        Speaker B

        00:00:11.920 - 00:00:13.200

        Thank you so much for having me.

        
        

        Speaker A

        00:00:13.200 - 00:00:19.840

        We're glad to have you here. I don't usually get to meet people before I interview them. We kind of ran into each other in Nashville at Americana. That was kind of nice.

        
        

        Speaker B

        00:00:20.000 - 00:00:21.520

        Very nice. I enjoyed it.

        
        

        Speaker A

        00:00:21.600 - 00:00:22.400

        You've been busy.

        
        

        Speaker B

        00:00:22.400 - 00:00:23.120

        Trying to be.

        
        

        Speaker A

        00:00:23.280 - 00:00:25.840

        What sort of adventures did you have over that trip?

        
        

        Speaker B

        00:00:26.000 - 00:01:22.670

        I had a lot of random adventures, I think just actually going to.

        
        

        It was an adventure in itself because I was on tour and I had finished, literally finished a tour, I believe, a day and a half before the conference started. Yeah, it was two days before. And so I literally. Last show was in Salt Lake City and I had to pick up some things at my house in LA.

        
        

        So I drove from Salt Lake City to LA in pretty much 12 hours. Got there at 10 o' clock at night just in time to go to my favorite Mexican restaurant and have a couple flaming margaritas.

        
        

        Then I went to bed, woke up the next morning and drove straight from LA to Nashville. Did that pretty much without stopping, and then got there and kind of just was like, you know, I couldn't really relax there either.

        
        

        So I just kind of hung out, ran around, met people, went to shows it by ear. But it was a good time. A lot of running around.

        
        

        Speaker A

        00:01:22.910 - 00:01:25.070

        You drive a lot? Not just for touring.

        
        

        Speaker B

        00:01:25.230 - 00:01:36.030

        I drive a lot in general, yes. To put it into perspective, I have a car that's three years old and it has 95,000 miles on it. And I did not buy it used.

        
        

        Speaker A

        00:01:36.670 - 00:01:42.830

        We'll go way back into how you started playing music originally. Did you get into it as a kid?

        
        

        Speaker B

        00:01:42.990 - 00:03:22.930

        I did, yeah. I think it's pretty much one of the standard stories. I had a grandmother who I still do, thankfully, who was very, very musical.

        
        

        And she almost forced me to take the family heirloom antique piano. Kind of made me take lessons. But at the same time, my dad was in a singing group when I was a kid.

        
        

        And like a big gospel singing group, I used to go to all the rehearsals and. And watch them. And I know that my dad and mom would sing to me every night.

        
        

        And so I just remember, I remember kind of always being intrigued by music. And it's a story that sometimes tell, but I kind of forgot about it for a while. But when I was. It was either first or second grade.

        
        

        A teacher, Ms. Sargent, and she took us all to the restroom, you know, when you're in first grade, they take the whole class. I remember standing in line to use the little boys room. And I was standing there and for some odd reason I decided to write a song. Okay.

        
        

        So I wrote like a verse and a chorus, maybe even two verses. And when I got back to the class, I asked the teacher if I could sing my song that I wrote in front of the class.

        
        

        And she was like, yeah, yeah, you can sing. So I got up in front of the class and I sang my song that I wrote and everybody clapped. And afterwards I was like, yeah, this is awesome. And so I.

        
        

        Three days in a row, the next three days I did the exact same thing. Wrote these stupid little songs and asked if I could sing them in front of the class. And I did.

        
        

        And I don't know if I got tired of it or she was like, okay, that's enough, Brett. But I guess what I'm trying to say is from a pretty young age, I guess I was just drawn to music.

        
        

        Speaker A

        00:03:23.090 - 00:03:28.050

        So from the post Potty Blues, I'm assuming you then continued through like teenage bands.

        
        

        Speaker B

        00:03:28.480 - 00:04:14.140

        I did. I did the piano lesson thing for a long time and enjoyed it, but I didn't ever like what I was learning.

        
        

        I just like to play like my own stuff, try to write songs, and it was cool, but I didn't really take it seriously until I got a guitar when. Not sure even what age I was. I was probably around 14 when I. When I got the guitar.

        
        

        That was sort of like what really did it and made me like, you know. Before that I played hockey in high school and that was my number one love. And when I got the guitar and started playing, it kind of.

        
        

        It kind of took over and I went and didn't even try out for the team my senior year. I didn't even go back. I was like, I'm just doing music.

        
        

        Yeah, I was in like, you know, local bands, playing shows at coffee houses and wherever I could play because I wasn't old enough to play bars.

        
        

        Speaker A

        00:04:14.140 - 00:04:15.580

        What were you listening to back then?

        
        

        Speaker B

        00:04:15.740 - 00:04:38.970

        Back then I was really like 16, 17, 18. I was really into. I was really like into a lot of the DC punk stuff. Things like fugazi. Like that really kind of.

        
        

        That's something that really got me into music. And like fugazi always had that DIY ethic. You put out your own records. And so it was a lot of stuff like that at that point in time.

        
        

        And probably a lot of classic rock too.

        
        

        Speaker A

        00:04:39.370 - 00:04:52.650

        The desire to play came fairly early. But then there's also a Lot of work that goes with that. What was your process in terms of making the decision?

        
        

        It's not just going to be a hobby or something fun, but this is going to be my pursuit.

        
        

        Speaker B

        00:04:53.110 - 00:06:16.510

        Well, I remember being 16, starting my first, what I thought was a serious band with my friends and telling my parents, I don't want to go to college, I want to be in a band and I want to go on tour. To which, of course, they said, no, you have to go to college. You can't be in a band. You can't seriously be. You'll never make any money.

        
        

        Which they were definitely right on that part. I probably should have listened to them. But sometimes you follow the muse and you don't really listen to logic. And as.

        
        

        As most musicians, career musicians, you kind of can't be logical. Basically what happened was I started a band with some of my friends and Somehow I was 18 and I went to.

        
        

        I didn't want to go to college, but my parents still sort of forced me and said I had to. So because I did really well in high school, I got to go to community college for free. Got a scholarship or whatever.

        
        

        So I did one semester, and I was friends with this metal hardcore band I was actually a huge fan of at the time. They lost a guitar player and asked me if I could replace the guitar player. And so that was 18. And I said yeah.

        
        

        And I quit going to college and started touring full time. Then everything just sort of went from there. I had another band I was in at the same time that I was the singer for, and that kind of.

        
        

        We started touring full time and, you know, it just kind of continued, I guess I just. It just happened sort of.

        
        

        Speaker A

        00:06:16.510 - 00:06:30.190

        You've had a pretty, I guess, storied history in terms of being in and out of different bands professionally and in different routes. What's led to where this record comes from as a solo pursuit? Because it's a big change for you, stylistically.

        
        

        Speaker B

        00:06:30.350 - 00:07:42.410

        It is a big change, you know, from being a kid that basically played in, for the most part, being known for doing like, melodic indie, alternative rock kind of stuff. It's definitely a change, but it was an extremely natural change. I don't. I don't think that mean.

        
        

        Maybe some people do, but I don't think most people would say I'm going to make a full comparison, Americana, country kind of record, because you think it's the smart thing to do or because it's. Because it's the cool bandwagon to be on, I think, to do this kind of music. And to do it justice, it really has to be authentic and it has to come.

        
        

        Come from your heart.

        
        

        For me, it was definitely, literally, I went on an eight year binge where I listened to nothing but Towns, Van Zant, Waylon Jennings, Loretta Lynn, Guy Clark and, you know, that kind of music. And that was pretty much the only thing I was listening to. And so it was really just, you know, I broke up my band and was.

        
        

        I knew that I wanted to make a record like this, but, you know, it took a while for me to write the right songs and for the, for the right time, do it properly.

        
        

        But yeah, it's just one of those things where, you know, you kind of grow out of a certain kind of music that you start playing when you're 18 years old and you life takes you on a different path. And I guess this record just really came from. It was just genesis of what I had been listening to.

        
        

        Speaker A

        00:07:42.660 - 00:07:56.580

        From the creative perspective, it's easy to see how a musician, a songwriter would move and grow and be influenced by new things. But that's a really hard. From a practical standpoint, that's a really hard decision to make.

        
        

        Speaker B

        00:07:56.980 - 00:08:51.340

        It can be.

        
        

        But at the same time, for better or for worse, one of the things that's always driven me as a musician is actually doing something I love and believe in. Which again can be a detriment commercially.

        
        

        Because if certain people expect you to do something specific and you have a fan base that wants you to do something, something specific, and you don't necessarily do that, you can be alienating a lot of people. But I think if you're a true artist, you kind of have to follow what you believe in. And that was the case for me. It wasn't.

        
        

        I could have continued in my old band and we could have continued making records and touring and there's still a fan base for it, but my heart was genuinely not into like heavy guitar rock stuff anymore. And so it was just a matter of, you know, this is actually the music that I loved. And so it almost wasn't a choice for me.

        
        

        It was like, well, if I'm gonna write songs, this is the kind of songs I'm gonna write, because this is the kind of songs that I love. So I almost feel like I didn't have a choice.

        
        

        Speaker A

        00:08:51.500 - 00:08:56.380

        What was your process in terms of the songwriting and then heading into the studio?

        
        

        Speaker B

        00:08:56.780 - 00:11:50.040

        Well, more or less, I. As much as I knew in the back of my head that I wanted to make a record like this, I didn't actually believe that it would happen.

        
        

        I Quit music, gave up on my dream, and felt really. I had a long period of feeling really defeated and feeling like I wasn't sure of myself anymore as a writer.

        
        

        Didn't know if I could write songs that I liked or that people would relate to. And throughout all that, I had this tape recorder thing, like a little digital recorder thing that doctors talk into.

        
        

        And I would sit down and write something for a minute or two on guitar and sing and quickly record it and not really listen to it.

        
        

        And after maybe a year and a half, two years of that, I sat down one day and decided to try to listen back and see what I had and realized that there was at least an album's worth of songs in there. And that's when I started to come to the realization that I probably had a record and that I should probably make one.

        
        

        And I ended up getting a hold of this guy, Pete Young, who was a drummer for Loretta Lynn and a producer in Nashville, and ended up finding him on the Internet. And we started talking and he helped me round up a good group of musicians. And I just ended up going down to Nashville to do an ep.

        
        

        I went down to do a four song ep. And so the first day, I definitely never made a record like this. I'd always done the band thing.

        
        

        You rehearse the songs for three months and you go into the studio, you know the songs inside and out. This was the polar opposite. I went down and had the lyrics written down on paper. I had never played any of the songs with anybody.

        
        

        I had never really played them myself. I wrote them, put them on a tape recorder and never played them again. I went down to Nashville, they write out the charts for the songs.

        
        

        You know, they have the arrangement better than me because they can read the charts. I have no idea what the national numbers charts is. So I'm sitting there reading my lyric sheet, like sort of playing.

        
        

        And so it was this totally magical experience where the first four songs track them in a day. And most of them are...]]>2db753a1-3577-41e9-a920-9e4777ab6768Fri, 28 Nov 2025 02:02:00 -040035:05truefull12071207Country Fried Rock 1205: Tara Nevins of Donna the Buffalo Talks Tunes and TransitionsSummary

        From 2012: Tara Nevins of Donna the Buffalo dives into her journey of creativity and self-discovery in this episode, kicking things off by chatting about her latest solo album, Wood and Stone. She shares how her upbringing in a musically vibrant household and her classical training on the violin shaped her path, leading her to embrace the roots of old-time fiddle music that resonate deeply within her. Tara reminisces about her time in Huntsville, Alabama, where she penned much of the album, revealing how the laid-back Southern vibe inspired her songwriting and allowed her to explore new musical avenues. With a mix of personal anecdotes and reflections on her artistic evolution, she highlights the significance of collaboration, especially her serendipitous connection with producer Larry Campbell, which helped her craft a record that celebrates her journey while keeping the fiddle close to her heart. This episode is packed with warmth, wisdom, and a whole lot of musical soul, perfect for anyone looking to vibe with the creative process.

        Show Notes

        Diving into the vibrant world of music and its eclectic influences, Sloane Spencer welcomes Tara Nevins, the creative force behind Donna the Buffalo, to chat about her solo project, Wood and Stone. Tara reflects on her roots, tracing her musical journey from the violin in public school to the heartfelt fiddle tunes that embody her current work. With a warm, conversational vibe, Tara shares anecdotes about her upbringing in a musically rich household, where gatherings would turn into lively jams, setting the stage for her eventual dive into the world of old-time and folk music. Throughout their chat, they explore how her time spent in Huntsville, Alabama (where she penned much of her new album) shaped her artistic perspective. In a thoughtful exchange, Tara explains how her creative process evolved after significant life changes, including her marriage ending, highlighting the introspection that fueled her songwriting. The duo dives deep into the influences of traditional and modern sounds, illustrating how Tara's unique blend of genres manifests in her latest work. As they uncover the sonic tapestry of Wood and Stone, listeners are treated to a glimpse into the heart of a musician who embraces her past while forging a new path, embodying the spirit of creativity and resilience.

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • Tara Nevins of Donna the Buffalo
        • You may also enjoy this conversation from 2015 with Willow Avalon's dad, Jim White
        • Toss a few in our Tip Jar!
        
        

        Chapters

        • 00:08 - Interview with Tara Nevins
        • 02:46 - The Journey into Traditional Music
        • 11:21 - The Journey of Self-Discovery Through Music
        • 13:24 - Transitioning to New Beginnings in Music Production
        • 17:30 - Cultural Reflections on Living in Alabama
        
        

        Takeaways

        • Tara Nevins' journey into music was deeply influenced by her childhood experiences and family gatherings filled with music, showcasing the importance of early exposure to artistic expression.
        • Living in Huntsville, Alabama, brought Tara a refreshing perspective on southern culture, highlighting the warmth and non-judgmental nature of the community, which inspired her creativity.
        • The evolution of Tara's sound in her new album Wood and Stone reflects her personal growth after significant life changes, blending elements of traditional music with modern influences.
        • The collaboration with Larry Campbell marked a pivotal moment for Tara, as it allowed her to explore new musical avenues while maintaining her roots in old-time and folk traditions.
        • Tara's songwriting process during her time in Alabama was fueled by introspection and self-discovery, leading to a record that conveys a vibrant and upbeat vibe despite its thematic depth.
        • The supportive nature of fans in the folk music scene is a testament to the community aspect of music, where audiences are eager to embrace and explore the individual members' solo projects.
        
        

        Mentioned in this Episode

        • Donna the Buffalo
        • Sugar Hill Records
        • Larry Campbell
        
        

        Recommended If You Like

        Country Fried Rock, Tara Nevins, Donna the Buffalo, Wood and Stone album, old time fiddle music, Southern music, Huntsville Alabama, folk music community, creative process, songwriting inspiration, traditional music, acoustic guitar, bluegrass music, fiddle festivals, relationship reflections, music collaboration, Larry Campbell, music production, independent artists, music interviews

        Transcript

        Speaker A

        00:00:00.320 - 00:00:18.240

        Welcome to Country Fried Rock where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today is Tara Nevins of Donna the Buffalo on her solo effort Wood and Stone.

        Thank you, Tara, for being with us on Country Fried Rock.

        
        

        Speaker B

        00:00:18.240 - 00:00:19.440

        Well, thanks for having me.

        
        

        Speaker A

        00:00:20.000 - 00:00:21.760

        How did you learn to play as a kid?

        
        

        Speaker B

        00:00:22.080 - 00:02:23.480

        Where I grew up, where I went to school, had a public school system that I grew up in, had a really good music department and I was offered, you know, like everybody in grammar school, whatever, to pick an instrument. And I chose the violin. And so I, you know, I basically learned, you know, in public school and then through high school to play violin.

        
        

        And I also had an acoustic guitar at home and I started, you know, I taught myself to play guitar at home. And I always really loved music. My mother and father loved music and were always having folks up.

        
        

        They grew up in Greenwich Village and on the weekends and they grew up in Greenwich Village and then when they got older and they got married, they left the city and moved up to where I grew up in Orangeburg, New York, or which is a suburb of New York City, I guess you'd say.

        
        

        And so on the weekends, all their crazy friends from Greenwich Village would come up and they'd pull back the rugs and have these just get togethers almost every weekend and dance all night, listen to music. So my family, there was always a lot of music in my family and a lot of support from me playing music.

        
        

        So when I was playing the violin through high school and learning the acoustic guitar and buying my songbooks, my James Taylor and Carole King and all my song books, learning these different songs, I actually started writing songs then too. I guess when I was then in college for my classical studies, I discovered old time fiddle music. And so it was then that I.

        
        

        My world shifted in direction, kind of. Although I have to say that even when I was in high school, I was fascinated by fiddle music.

        
        

        And I had a Mel Day fiddle book, you know, and I would actually sit in the back of orchestra practices and sort of be, you know, while the conductor was talking to the trumpet section or something, I'd be back there, you know, playing, you know, really quiet, trying to play turkey, turkey in the straw. Fiddle book. I always had an affinity for that.

        
        

        And when I was in high school also, I guess it was high school, yeah, that I got the album Will the Circle Be Unbroken.

        
        

        Speaker A

        00:02:23.480 - 00:02:23.960

        Yes.

        
        

        Speaker B

        00:02:23.960 - 00:04:01.390

        And that was really inspirational to me.

        
        

        But then I went off to college and was in the classical music program, but there my roommate turned out to be someone who played in an old time fiddles band, that turned my head right there. And the minute I graduated out of college, I just dove into traveling to fiddle festivals and playing fiddle music.

        
        

        And I never played another note of classical music. After I graduated I just dove right into what I think had been a yearning inside of me all along.

        
        

        So I kind of went down that road into the world of traditional music. And over the years I'm part of a large community of folk that play old time fiddle music.

        
        

        And during that time you naturally discover other traditional music when you're doing that.

        
        

        And so I traveled to Louisiana and discovered the Sydeco and Cajun creole music there and fell in love with that and bought an accordion and this whole time was writing songs. And so it was sort of like over the course of many years, just an evolution of, you know.

        
        

        And then I was playing the old time fiddle music and for like 10 years was in a band called the Heartbeats and all female string band and pretty hard driving fiddle tunes and songs. And then dawn of the Buffalo started.

        
        

        And so now Don the Buffalo, you know, is sort of has a combination of a lot of all of these influence, you know, the fiddle music and the country music and the zydeco music and so on and so forth, you know.

        
        

        And I still travel to all these fiddle festivals and I'm part of this old time fiddle community and it's a big part of guess where my sort of center of music...]]>Summary

        From 2012: Tara Nevins of Donna the Buffalo dives into her journey of creativity and self-discovery in this episode, kicking things off by chatting about her latest solo album, Wood and Stone. She shares how her upbringing in a musically vibrant household and her classical training on the violin shaped her path, leading her to embrace the roots of old-time fiddle music that resonate deeply within her. Tara reminisces about her time in Huntsville, Alabama, where she penned much of the album, revealing how the laid-back Southern vibe inspired her songwriting and allowed her to explore new musical avenues. With a mix of personal anecdotes and reflections on her artistic evolution, she highlights the significance of collaboration, especially her serendipitous connection with producer Larry Campbell, which helped her craft a record that celebrates her journey while keeping the fiddle close to her heart. This episode is packed with warmth, wisdom, and a whole lot of musical soul, perfect for anyone looking to vibe with the creative process.

        Show Notes

        Diving into the vibrant world of music and its eclectic influences, Sloane Spencer welcomes Tara Nevins, the creative force behind Donna the Buffalo, to chat about her solo project, Wood and Stone. Tara reflects on her roots, tracing her musical journey from the violin in public school to the heartfelt fiddle tunes that embody her current work. With a warm, conversational vibe, Tara shares anecdotes about her upbringing in a musically rich household, where gatherings would turn into lively jams, setting the stage for her eventual dive into the world of old-time and folk music. Throughout their chat, they explore how her time spent in Huntsville, Alabama (where she penned much of her new album) shaped her artistic perspective. In a thoughtful exchange, Tara explains how her creative process evolved after significant life changes, including her marriage ending, highlighting the introspection that fueled her songwriting. The duo dives deep into the influences of traditional and modern sounds, illustrating how Tara's unique blend of genres manifests in her latest work. As they uncover the sonic tapestry of Wood and Stone, listeners are treated to a glimpse into the heart of a musician who embraces her past while forging a new path, embodying the spirit of creativity and resilience.

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • Tara Nevins of Donna the Buffalo
        • You may also enjoy this conversation from 2015 with Willow Avalon's dad, Jim White
        • Toss a few in our Tip Jar!
        
        

        Chapters

        • 00:08 - Interview with Tara Nevins
        • 02:46 - The Journey into Traditional Music
        • 11:21 - The Journey of Self-Discovery Through Music
        • 13:24 - Transitioning to New Beginnings in Music Production
        • 17:30 - Cultural Reflections on Living in Alabama
        
        

        Takeaways

        • Tara Nevins' journey into music was deeply influenced by her childhood experiences and family gatherings filled with music, showcasing the importance of early exposure to artistic expression.
        • Living in Huntsville, Alabama, brought Tara a refreshing perspective on southern culture, highlighting the warmth and non-judgmental nature of the community, which inspired her creativity.
        • The evolution of Tara's sound in her new album Wood and Stone reflects her personal growth after significant life changes, blending elements of traditional music with modern influences.
        • The collaboration with Larry Campbell marked a pivotal moment for Tara, as it allowed her to explore new musical avenues while maintaining her roots in old-time and folk traditions.
        • Tara's songwriting process during her time in Alabama was fueled by introspection and self-discovery, leading to a record that conveys a vibrant and upbeat vibe despite its thematic depth.
        • The supportive nature of fans in the folk music scene is a testament to the community aspect of music, where audiences are eager to embrace and explore the individual members' solo projects.
        
        

        Mentioned in this Episode

        • Donna the Buffalo
        • Sugar Hill Records
        • Larry Campbell
        
        

        Recommended If You Like

        Country Fried Rock, Tara Nevins, Donna the Buffalo, Wood and Stone album, old time fiddle music, Southern music, Huntsville Alabama, folk music community, creative process, songwriting inspiration, traditional music, acoustic guitar, bluegrass music, fiddle festivals, relationship reflections, music collaboration, Larry Campbell, music production, independent artists, music interviews

        Transcript

        Speaker A

        00:00:00.320 - 00:00:18.240

        Welcome to Country Fried Rock where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest today is Tara Nevins of Donna the Buffalo on her solo effort Wood and Stone.

        Thank you, Tara, for being with us on Country Fried Rock.

        
        

        Speaker B

        00:00:18.240 - 00:00:19.440

        Well, thanks for having me.

        
        

        Speaker A

        00:00:20.000 - 00:00:21.760

        How did you learn to play as a kid?

        
        

        Speaker B

        00:00:22.080 - 00:02:23.480

        Where I grew up, where I went to school, had a public school system that I grew up in, had a really good music department and I was offered, you know, like everybody in grammar school, whatever, to pick an instrument. And I chose the violin. And so I, you know, I basically learned, you know, in public school and then through high school to play violin.

        
        

        And I also had an acoustic guitar at home and I started, you know, I taught myself to play guitar at home. And I always really loved music. My mother and father loved music and were always having folks up.

        
        

        They grew up in Greenwich Village and on the weekends and they grew up in Greenwich Village and then when they got older and they got married, they left the city and moved up to where I grew up in Orangeburg, New York, or which is a suburb of New York City, I guess you'd say.

        
        

        And so on the weekends, all their crazy friends from Greenwich Village would come up and they'd pull back the rugs and have these just get togethers almost every weekend and dance all night, listen to music. So my family, there was always a lot of music in my family and a lot of support from me playing music.

        
        

        So when I was playing the violin through high school and learning the acoustic guitar and buying my songbooks, my James Taylor and Carole King and all my song books, learning these different songs, I actually started writing songs then too. I guess when I was then in college for my classical studies, I discovered old time fiddle music. And so it was then that I.

        
        

        My world shifted in direction, kind of. Although I have to say that even when I was in high school, I was fascinated by fiddle music.

        
        

        And I had a Mel Day fiddle book, you know, and I would actually sit in the back of orchestra practices and sort of be, you know, while the conductor was talking to the trumpet section or something, I'd be back there, you know, playing, you know, really quiet, trying to play turkey, turkey in the straw. Fiddle book. I always had an affinity for that.

        
        

        And when I was in high school also, I guess it was high school, yeah, that I got the album Will the Circle Be Unbroken.

        
        

        Speaker A

        00:02:23.480 - 00:02:23.960

        Yes.

        
        

        Speaker B

        00:02:23.960 - 00:04:01.390

        And that was really inspirational to me.

        
        

        But then I went off to college and was in the classical music program, but there my roommate turned out to be someone who played in an old time fiddles band, that turned my head right there. And the minute I graduated out of college, I just dove into traveling to fiddle festivals and playing fiddle music.

        
        

        And I never played another note of classical music. After I graduated I just dove right into what I think had been a yearning inside of me all along.

        
        

        So I kind of went down that road into the world of traditional music. And over the years I'm part of a large community of folk that play old time fiddle music.

        
        

        And during that time you naturally discover other traditional music when you're doing that.

        
        

        And so I traveled to Louisiana and discovered the Sydeco and Cajun creole music there and fell in love with that and bought an accordion and this whole time was writing songs. And so it was sort of like over the course of many years, just an evolution of, you know.

        
        

        And then I was playing the old time fiddle music and for like 10 years was in a band called the Heartbeats and all female string band and pretty hard driving fiddle tunes and songs. And then dawn of the Buffalo started.

        
        

        And so now Don the Buffalo, you know, is sort of has a combination of a lot of all of these influence, you know, the fiddle music and the country music and the zydeco music and so on and so forth, you know.

        
        

        And I still travel to all these fiddle festivals and I'm part of this old time fiddle community and it's a big part of guess where my sort of center of music comes from. And that's also the need to make a record like I just did too.

        
        

        Speaker A

        00:04:01.470 - 00:04:13.370

        I appreciate that you, you encapsulated what it is that drives someone as creative as you are to investigate these different styles within what they're. Have you been based out of the greater New York area this whole time?

        
        

        Speaker B

        00:04:13.690 - 00:04:44.650

        Yeah, basically I'm hardly ever here, but yes, I spent four years, two years ago, four years leading up to two years ago. That makes sense. I spent four years spending a lot of time basically sort of living in Huntsville, Alabama.

        
        

        And that's actually where a lot of this record was written and. Yeah, so yeah, but I'm from here and I still have my apartment here and that's where I am right now.

        
        

        And we have a few days off and so yeah, just I travel so much, I'm hardly ever here and I'd love to move to the South. I love the South.

        
        

        Speaker A

        00:04:44.730 - 00:04:47.210

        You know, if you're going to move to the South, Alabama will do it.

        
        

        Speaker B

        00:04:47.450 - 00:05:28.630

        Yeah, no, absolutely. Absolutely no.

        
        

        I was, I was seeing someone, you know, and one of the relationships reflected in the album, the writing of the record, I never would have necessarily looked at the map and pointed and put my finger on Alabama, necessarily, because a lot of the fiddle music I play traveled to North Carolina a lot, Virginia and such, you know, and I. So I do travel and I enjoy tennis, but I hadn't really had much of any experience with Alabama.

        
        

        But after spending time there, I just really fell in love with Huntsville. And I really, really like Alabama. And it's just I have just this yearning to move to the south, have the opportunity I may.

        
        

        Hey, this is Tara Nevins and you're listening to Countryside Rock.

        
        

        Speaker A

        00:05:28.790 - 00:05:31.990

        I wondered what led to covering Stars Fell in Alabama.

        
        

        Speaker B

        00:05:32.070 - 00:06:34.590

        What actually led me to covering that actually, is when I was living in Huntsville, I was approached by these gentlemen that were directing and producing a movie called 20 Years After.

        
        

        And they asked me, they knew I was spending time there in town and I was hooked up with them and they asked me if I would rewrite that song, Stars Fell in Alabama, they said, you know, the jazz classic Stars Fell in Alabama.

        
        

        Would you consider kind of rewriting it for the movie in like an old time sort of mountain music approach, you know, same lyrics, but completely different melody treatment. And basically I was commissioned to do that and I did that. And it's in the soundtrack of the movie. So that's where that came from.

        
        

        But definitely, probably would never have come my way as an opportunity if I hadn't been living in Huntsville, Alabama. And it's just funny that the song is called Stars Fell in Alabama. I mean, how horrible. I was talking to a friend down there last night.

        
        

        Huntsville was hit pretty hard. It's just awful. And I have friends down there just sort of.

        
        

        Because, you know, they lost electricity and when you lose that, you can't charge your cell phone. Right.

        
        

        Speaker A

        00:06:34.590 - 00:06:42.230

        You know, and it's been terrible. Over 300 people killed. I mean, just the Tuscaloosa, Birmingham, I mean all the way up to Huntsville. Just terrible.

        
        

        Speaker B

        00:06:42.650 - 00:07:02.970

        I know, it's just. It makes you really crazy things that have been happening weather wise.

        
        

        You know, this makes you really wonder what's going on just around the world with all the tsunamis and the earthquakes and fires and the extra snow every year and all these places that don't normally get it and these storms and these like 100 and something tornadoes hitting down in Alabama.

        
        

        Speaker A

        00:07:03.050 - 00:07:03.610

        Insane.

        
        

        Speaker B

        00:07:03.610 - 00:07:16.940

        I can't even fathom that makes you think that, you know, it's all true and that the world is about to end or something. And when I was spending time in Huntsville, there would be Warnings and sirens would go off, but there would never.

        
        

        There never was one in Huntsville in my time.

        
        

        Speaker A

        00:07:17.020 - 00:07:33.020

        Right.

        
        

        We've had a lot of focus on the resurgence in the Muscle Shoals sound and the Muscle Shoals music scene right now, but not so much old time music coming out of Alabama. What kind of support did you have for playing live there? Or were you simply based there and on the road a lot?

        
        

        Speaker B

        00:07:33.260 - 00:08:05.080

        I was based there and I was on the road a lot. But there's definitely a group of folks that play old time music there.

        
        

        In fact, where I was living, there was fellow and his wife that lived right down the street from me that I actually knew from the old time community and I spent a little bit of time with them and that was really nice. Definitely invited to some gatherings and so yeah, it doesn't have a super loud voice there in Huntville anyway, but it is there.

        
        

        You know, I did experience it a little bit while I was there, but yeah, I was on the road a lot and when I was there, I was taking it pretty easy.

        
        

        Speaker A

        00:08:05.480 - 00:08:22.730

        You said you wrote the bulk of this record while you were living there. When I first listened to this, I had like these little snippets of inspiration from completely different music and it just really drew me in.

        
        

        So what was leading you creatively to this solo venture?

        
        

        Speaker B

        00:08:23.450 - 00:08:59.309

        Well, I made an. This is my second solo album. I made one probably came out also on Sugar hill Records, probably 10 or 11 years ago.

        
        

        Yeah, it was called Mule to Ride and it was really an old time, sort of slash, light, curly, bluegrass kind of sound. Really featured my fiddle playing and sort of a cast of thousands. And I only sang maybe two songs on it. Mostly traditional public domain material.

        
        

        And I knew how to do that. I knew how to present it, I knew how to produce it. So I produced the record and all that. I always knew I would do another one.

        
        

        It was part of my whole situation with Sugar Hill and I wanted to do another one.

        
        

        Speaker A

        00:08:59.309 - 00:08:59.589

        Right.

        
        

        Speaker B

        00:08:59.589 - 00:14:02.650

        It took me this long to get around to it being busy in dawn of the Buffalo and also, and I'm glad it took this long because I knew that anyway, so because it's been this many years, I wanted to do something different. I didn't want to do the same thing again, of course. Well, I guess what happened was I just started writing these songs.

        
        

        I was married for a long time and I thought I would always be married, you know. And six years ago that marriage ended and it was a huge shift in my life, my level of independence and all that.

        
        

        And from then till now, I've had some other relationships and I've just. It's been a time of a lot of discovery and finding yourself core and your strength.

        
        

        And it's been actually really a great time of discovery and just reflection on these relationships. And I just.

        
        

        In this time period and living in Huntsville, I just started writing these songs and it kind of came together and I thought, this is my record, you know, this is what I have to say right now. And this is, you know, the fiddle will be on this record. And it is. It's not always the main featured instrument.

        
        

        You know, Larry Campbell's wonderful pedal steel and electric guitar and then this banjo and you know, so on and so forth and you know, life just works in a mysterious way, as we know.

        
        

        And for some reason I was just led in this direction and these songs came about and then my opportunity to record with Larry Campbell came about and I realized actually when I was writing these songs I was, I was getting excited and I was thinking, wow, you know, these songs, these songs, like, you know, when you make a record, you kind of want to paint a picture and you kind of want to say something. You kind of want. It's kind of nice to send one sort of vibe out there or one sort of message.

        
        

        And when I was writing these songs, I was like, God, you know, these songs, they're. They're not downers. Even though they're about relationships, they're pretty upbeat.

        
        

        I like the vibe and you know, I think all these songs together could make like one cool, paint one cool picture in a record. I wasn't sure how to do it because it wasn't about just playing bluegrass or old time music. It's about songs.

        
        

        It's about me singing about what instrumentation should I use. I don't want it to be like rock and roll. I don't want it to be totally, totally soft tracks with no drums somewhere in the middle.

        
        

        I don't know exactly how to do this. So I realized I could not. I didn't want to produce it myself. I wanted someone to help me.

        
        

        But I had a sort of an idea in my head of what I wanted it to be.

        
        

        So I think that my marriage ending and the six years in between writing these songs, spending the time in Huntsville, Alabama, just this whole growth period, I guess you say self discovery, it's a pretty introspective record and it just kind of led me in this direction and I don't know, here I am. And then I got the opportunity...]]>fc8540f9-4f09-4496-a0fc-3a0de2f7e5adFri, 21 Nov 2025 02:02:00 -040020:38truefull12051205Country Fried Rock 1203: Adam Remnant of Southeast Engine on Couch By CouchWestSummary

        From 2012, Adam Remnant from Southeast Engine dives deep into the creative process behind their music, sharing how inspiration strikes like lightning when least expected. He chats with the host about the band's roots in Athens (Ohio) and their journey through the indie music scene, revealing how the blend of personal experiences and diverse musical influences shapes their sound. The conversation flows effortlessly, touching on everything from their social media presence to the dynamics of live performances, where the energy of the audience can make or break a show. They explore the evolution of their songwriting, including the transition from basement jams to studio recordings, and Adam's passion for crafting lyrics that resonate on multiple levels. This episode is a laid-back yet insightful ride into the world of Southeast Engine, showcasing their unique vibe and collaborative spirit.

        Show Notes

        • Discussion on the band's origins and their Athens roots.
        • Insights into how social media platforms like Twitter influence their music outreach.
        • The creative process behind songwriting and live performances.
        • Exploration of their new album, "Canary," and the dynamics of arranging songs.
        • Fun banter about musical influences, including Nirvana and Bob Dylan.
        • Creativity often stems from unexpected moments and experiences.
        • The energy of live audiences plays a crucial role in shaping performances.
        • Songwriting is an evolving process that benefits from collaboration and spontaneity.
        • Social media can be a powerful tool for musicians to connect with fans.
        • Each album reflects a unique phase in the band's musical journey.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • Adam Remnant of Southeast Engine still makes music
        • You may also enjoy this conversation from 2015 with Kevn Kinney of Drivin n Cryin
        • Toss a few in our Tip Jar
        
        

        Chapters

        • 00:00 - Introduction to Country Fried Rock
        • 02:57 - The Origins of Southeast Engine
        • 10:10 - The Evolution of Live Music Performance
        • 14:12 - Creative Processes in Music
        • 20:21 - Exploring Musical Influences and Inspirations
        • 23:30 - Creative Direction and Album Development
        
        

        Takeaways

        • Southeast Engine's formation story is a classic tale of shared musical passion that blossomed in Athens, Ohio, with roots tracing back to their childhood in Dayton.
        • The band members have distinct musical influences, blending folk, rock, and country, which creates a unique sound reflective of their diverse backgrounds.
        • Social media plays a crucial role in connecting with fans, especially Twitter, where the band shares updates and engages with their audience in a more casual manner.
        • Live performances are dynamic and tailored to the venue's atmosphere, highlighting the band's ability to adapt their energy to different audience vibes.
        • The songwriting process for Adam involves a blend of spontaneity and reflection, allowing ideas to develop organically rather than being forced.
        • Southeast Engine aspires to explore a more atmospheric sound in future albums, indicating a creative evolution that reflects their growth as artists.
        
        

        Mentioned in this Episode

        • Southeast Engine
        • Couch by Couch West
        • Three Elliott Studios
        • Misra Records
        • Judee Sill
        • Absolutely Kosher
        • Moonjaw Records
        
        

        Recommended If You Like

        Country Fried Rock, Southeast Engine, indie rock podcast, music creativity inspiration, Athens music scene, songwriting process, live music performance, musical influences, folk rock bands, music production techniques, Twitter for musicians, Couch by Couch West, band dynamics, harmonies in music, acoustic instruments in rock, music collaborations, lyrical songwriting, Americana music, live recording techniques, band interviews, Judee Sill

        Transcript

        Speaker A

        00:00:00.320 - 00:00:08.560

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music Uncovered.

        Speaker B

        00:00:08.560 - 00:00:11.640

        Yeah. Hi, this is Adam Remnant from the band Southeast Engine.

        
        

        Speaker A

        00:00:11.640 - 00:00:12.760

        Hey, Adam. How are you?

        
        

        Speaker B

        00:00:12.760 - 00:00:14.000

        I'm doing well. How are you?

        
        

        Speaker A

        00:00:14.000 - 00:00:17.360

        I am well, thank you. Are y' all still based in Athens?

        
        

        Speaker B

        00:00:17.520 - 00:00:45.500

        We're relatively still based out of Athens. Myself and my brother, Jesse Remnant, who plays bass in Things Harmony in the band, also live in Athens.

        
        

        And then our drummer, Leo DeLuca, recently moved to Durham, North Carolina, and our keyboard player lives in Morgantown, West Virginia. Leo and I started the band, like, 10 years ago, and we just. Until the last year, we've all lived in Athens, except.

        
        

        Except our keyboard player, Billy Matheny is from Morgantown, West Virginia. He's always lived there, but the rest of the band's always been in Athens for the most part.

        
        

        Speaker A

        00:00:45.740 - 00:00:52.300

        Well, I'll tell you how I found Southeast Engine. And I. You may not know this. I could not go to south by Southwest this year.

        
        

        Speaker B

        00:00:52.380 - 00:00:53.260

        Neither did we.

        
        

        Speaker A

        00:00:53.340 - 00:00:58.300

        Well, so I ended up finding one of y' all on Couch by Couch west on Twitter.

        
        

        Speaker B

        00:00:58.750 - 00:01:00.750

        All right. Yes. Yes, that would be me.

        
        

        Speaker A

        00:01:00.910 - 00:01:02.430

        Tell me about your Twitter life.

        
        

        Speaker B

        00:01:03.790 - 00:01:12.910

        I recently. I've only recently started to become a fan of Twitter. We've been using Facebook for a while, and recently I've adapted to Twitter as well.

        
        

        Speaker A

        00:01:13.230 - 00:01:17.070

        Honestly, Couch by Couch west was the first time I ever got Twitter.

        
        

        Speaker B

        00:01:17.150 - 00:01:17.790

        Oh, really?

        
        

        Speaker A

        00:01:17.790 - 00:01:22.590

        Well, it's the first time I ever really understood the power of how it's different than Facebook.

        
        

        Speaker B

        00:01:23.150 - 00:01:48.380

        Yeah, you know, there is a subtle difference, and I think it's that with Twitter, I feel like with Facebook, if we make updates every day or more than once a day, that it could be sort of annoying to people that, you know, follow our page. But with Twitter, I don't know, it just feels like it can be a little bit more lighthearted or not. Not, as you know, I don't know. It just doesn't.

        
        

        It seems like you can post more on Quick Little message.

        
        

        Speaker A

        00:01:48.460 - 00:01:52.620

        So are you in charge of the Twitter account for Southeast Engine, or do y' all each do your own thing?

        
        

        Speaker B

        00:01:52.780 - 00:02:05.540

        I say that I would update the Twitter page and the Facebook page. It's mainly me updating them. And then sometimes, occasionally the other band members will post something, but it's mostly me.

        
        

        Speaker A

        00:02:05.780 - 00:02:06.820

        Is that by choice?

        
        

        Speaker B

        00:02:08.340 - 00:02:44.900

        I don't know. I just started. I just started doing it. And the drummer, Leo DeLuca, he posts stuff occasionally. It just kind of happened that way, I guess.

        
        

        I don't really. It wasn't really too deliberate a Friend of mine, he's in a band from Boston called Hallelujah.

        
        

        The Hills had posted his video that he did for it on Facebook. I saw it, I was like, oh, that's a good idea. And I just got out the little flip video camera and my wife is in the video.

        
        

        She's the one that's filming it. I just asked her, you can see in the video, me asking her to film it, to do a song for Couch by Couch Bus.

        
        

        And I did an old time song called Cripple Creek and I played it on banjo.

        
        

        Speaker A

        00:02:45.140 - 00:02:57.080

        As I said, that was how I found you all.

        
        

        So when I then went and researched what you all do as a band, I was like, oh, not quite old time music here, but, you know, that's what I was expecting. How did Southeast Engine form originally?

        
        

        Speaker B

        00:02:57.240 - 00:03:34.820

        As early as 1999, me and my brother and Leo DeLuca the drummer, all grew up in Dayton, Ohio, like a suburb right outside Dayton. And then Leo and I went to school in Athens, went to college here at Ohio University. And I don't know, it was a pretty typical story, really.

        
        

        We just liked a lot of the same music. And he was playing drums and I was starting to write some songs and we just started playing music together. And that's basically it. There's really.

        
        

        There's really no great tale behind it, but pretty typical. This is Adam Remnant of Southeast Engine. You're listening to Country Fried...]]>Summary

        From 2012, Adam Remnant from Southeast Engine dives deep into the creative process behind their music, sharing how inspiration strikes like lightning when least expected. He chats with the host about the band's roots in Athens (Ohio) and their journey through the indie music scene, revealing how the blend of personal experiences and diverse musical influences shapes their sound. The conversation flows effortlessly, touching on everything from their social media presence to the dynamics of live performances, where the energy of the audience can make or break a show. They explore the evolution of their songwriting, including the transition from basement jams to studio recordings, and Adam's passion for crafting lyrics that resonate on multiple levels. This episode is a laid-back yet insightful ride into the world of Southeast Engine, showcasing their unique vibe and collaborative spirit.

        Show Notes

        • Discussion on the band's origins and their Athens roots.
        • Insights into how social media platforms like Twitter influence their music outreach.
        • The creative process behind songwriting and live performances.
        • Exploration of their new album, "Canary," and the dynamics of arranging songs.
        • Fun banter about musical influences, including Nirvana and Bob Dylan.
        • Creativity often stems from unexpected moments and experiences.
        • The energy of live audiences plays a crucial role in shaping performances.
        • Songwriting is an evolving process that benefits from collaboration and spontaneity.
        • Social media can be a powerful tool for musicians to connect with fans.
        • Each album reflects a unique phase in the band's musical journey.
        
        

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2012
        • Adam Remnant of Southeast Engine still makes music
        • You may also enjoy this conversation from 2015 with Kevn Kinney of Drivin n Cryin
        • Toss a few in our Tip Jar
        
        

        Chapters

        • 00:00 - Introduction to Country Fried Rock
        • 02:57 - The Origins of Southeast Engine
        • 10:10 - The Evolution of Live Music Performance
        • 14:12 - Creative Processes in Music
        • 20:21 - Exploring Musical Influences and Inspirations
        • 23:30 - Creative Direction and Album Development
        
        

        Takeaways

        • Southeast Engine's formation story is a classic tale of shared musical passion that blossomed in Athens, Ohio, with roots tracing back to their childhood in Dayton.
        • The band members have distinct musical influences, blending folk, rock, and country, which creates a unique sound reflective of their diverse backgrounds.
        • Social media plays a crucial role in connecting with fans, especially Twitter, where the band shares updates and engages with their audience in a more casual manner.
        • Live performances are dynamic and tailored to the venue's atmosphere, highlighting the band's ability to adapt their energy to different audience vibes.
        • The songwriting process for Adam involves a blend of spontaneity and reflection, allowing ideas to develop organically rather than being forced.
        • Southeast Engine aspires to explore a more atmospheric sound in future albums, indicating a creative evolution that reflects their growth as artists.
        
        

        Mentioned in this Episode

        • Southeast Engine
        • Couch by Couch West
        • Three Elliott Studios
        • Misra Records
        • Judee Sill
        • Absolutely Kosher
        • Moonjaw Records
        
        

        Recommended If You Like

        Country Fried Rock, Southeast Engine, indie rock podcast, music creativity inspiration, Athens music scene, songwriting process, live music performance, musical influences, folk rock bands, music production techniques, Twitter for musicians, Couch by Couch West, band dynamics, harmonies in music, acoustic instruments in rock, music collaborations, lyrical songwriting, Americana music, live recording techniques, band interviews, Judee Sill

        Transcript

        Speaker A

        00:00:00.320 - 00:00:08.560

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock music Uncovered.

        Speaker B

        00:00:08.560 - 00:00:11.640

        Yeah. Hi, this is Adam Remnant from the band Southeast Engine.

        
        

        Speaker A

        00:00:11.640 - 00:00:12.760

        Hey, Adam. How are you?

        
        

        Speaker B

        00:00:12.760 - 00:00:14.000

        I'm doing well. How are you?

        
        

        Speaker A

        00:00:14.000 - 00:00:17.360

        I am well, thank you. Are y' all still based in Athens?

        
        

        Speaker B

        00:00:17.520 - 00:00:45.500

        We're relatively still based out of Athens. Myself and my brother, Jesse Remnant, who plays bass in Things Harmony in the band, also live in Athens.

        
        

        And then our drummer, Leo DeLuca, recently moved to Durham, North Carolina, and our keyboard player lives in Morgantown, West Virginia. Leo and I started the band, like, 10 years ago, and we just. Until the last year, we've all lived in Athens, except.

        
        

        Except our keyboard player, Billy Matheny is from Morgantown, West Virginia. He's always lived there, but the rest of the band's always been in Athens for the most part.

        
        

        Speaker A

        00:00:45.740 - 00:00:52.300

        Well, I'll tell you how I found Southeast Engine. And I. You may not know this. I could not go to south by Southwest this year.

        
        

        Speaker B

        00:00:52.380 - 00:00:53.260

        Neither did we.

        
        

        Speaker A

        00:00:53.340 - 00:00:58.300

        Well, so I ended up finding one of y' all on Couch by Couch west on Twitter.

        
        

        Speaker B

        00:00:58.750 - 00:01:00.750

        All right. Yes. Yes, that would be me.

        
        

        Speaker A

        00:01:00.910 - 00:01:02.430

        Tell me about your Twitter life.

        
        

        Speaker B

        00:01:03.790 - 00:01:12.910

        I recently. I've only recently started to become a fan of Twitter. We've been using Facebook for a while, and recently I've adapted to Twitter as well.

        
        

        Speaker A

        00:01:13.230 - 00:01:17.070

        Honestly, Couch by Couch west was the first time I ever got Twitter.

        
        

        Speaker B

        00:01:17.150 - 00:01:17.790

        Oh, really?

        
        

        Speaker A

        00:01:17.790 - 00:01:22.590

        Well, it's the first time I ever really understood the power of how it's different than Facebook.

        
        

        Speaker B

        00:01:23.150 - 00:01:48.380

        Yeah, you know, there is a subtle difference, and I think it's that with Twitter, I feel like with Facebook, if we make updates every day or more than once a day, that it could be sort of annoying to people that, you know, follow our page. But with Twitter, I don't know, it just feels like it can be a little bit more lighthearted or not. Not, as you know, I don't know. It just doesn't.

        
        

        It seems like you can post more on Quick Little message.

        
        

        Speaker A

        00:01:48.460 - 00:01:52.620

        So are you in charge of the Twitter account for Southeast Engine, or do y' all each do your own thing?

        
        

        Speaker B

        00:01:52.780 - 00:02:05.540

        I say that I would update the Twitter page and the Facebook page. It's mainly me updating them. And then sometimes, occasionally the other band members will post something, but it's mostly me.

        
        

        Speaker A

        00:02:05.780 - 00:02:06.820

        Is that by choice?

        
        

        Speaker B

        00:02:08.340 - 00:02:44.900

        I don't know. I just started. I just started doing it. And the drummer, Leo DeLuca, he posts stuff occasionally. It just kind of happened that way, I guess.

        
        

        I don't really. It wasn't really too deliberate a Friend of mine, he's in a band from Boston called Hallelujah.

        
        

        The Hills had posted his video that he did for it on Facebook. I saw it, I was like, oh, that's a good idea. And I just got out the little flip video camera and my wife is in the video.

        
        

        She's the one that's filming it. I just asked her, you can see in the video, me asking her to film it, to do a song for Couch by Couch Bus.

        
        

        And I did an old time song called Cripple Creek and I played it on banjo.

        
        

        Speaker A

        00:02:45.140 - 00:02:57.080

        As I said, that was how I found you all.

        
        

        So when I then went and researched what you all do as a band, I was like, oh, not quite old time music here, but, you know, that's what I was expecting. How did Southeast Engine form originally?

        
        

        Speaker B

        00:02:57.240 - 00:03:34.820

        As early as 1999, me and my brother and Leo DeLuca the drummer, all grew up in Dayton, Ohio, like a suburb right outside Dayton. And then Leo and I went to school in Athens, went to college here at Ohio University. And I don't know, it was a pretty typical story, really.

        
        

        We just liked a lot of the same music. And he was playing drums and I was starting to write some songs and we just started playing music together. And that's basically it. There's really.

        
        

        There's really no great tale behind it, but pretty typical. This is Adam Remnant of Southeast Engine. You're listening to Country Fried Rock. You can find us online@southeastengine.com.

        
        

        Speaker A

        00:03:34.980 - 00:03:36.740

        How'D you learn to play music originally?

        
        

        Speaker B

        00:03:36.740 - 00:04:06.710

        I think when I was in, like sixth or seventh grade, like 12, 13 years old, me and my other.

        
        

        One of my other brothers who's not in the band, we grew up, we got really into Nirvana and so Nirvana was breaking and we became obsessed and we both. Our parents bought us both really cheap electric guitars and got us in guitar lessons. And I don't know, we were just completely obsessed. We just.

        
        

        I've been completely obsessed with rock and roll ever since, and I haven't been the same.

        
        

        Speaker A

        00:04:07.430 - 00:04:09.990

        So did y' all have kind of your family Nirvana cover band?

        
        

        Speaker B

        00:04:09.990 - 00:04:19.610

        Oh, yeah. We would.

        
        

        We would do little fake concerts in our bedroom and we'd set up cardboard boxes and pretend they were amps and then smash our guitars into the cardboard boxes.

        
        

        Speaker A

        00:04:20.010 - 00:04:20.570

        Awesome.

        
        

        Speaker B

        00:04:21.770 - 00:04:23.930

        Oh, yeah. I mean, what a great way to start.

        
        

        Speaker A

        00:04:24.890 - 00:04:31.850

        So you say you. You became obsessed with rock and roll ever since. Once you branched out from your Nirvana fandom, where did you head?

        
        

        Speaker B

        00:04:31.850 - 00:05:28.100

        Well, I was into other, like, alternative bands like Dinosaur, junior Zebedo, and bands like that. But then There was some Dayton stuff too, like Guided by Voices readers were out there and.

        
        

        But then as I got a little bit older, I started, you know, exploring more like classic rock, like the Beatles and Bob Dylan. And really I think that's more.

        
        

        The sound of Southeast Engine is kind of more based on 60s and 70s, you know, rock and roll and folk rock and things like that, Things of that nature.

        
        

        Growing up with those records, I mean, I just remember, you know, my dad had a copy of the Beatles White album, listening to that when I was in ninth. Somehow I missed hearing the Beatles growing up. And I just remember hearing the Beatles when I was in like ninth grade.

        
        

        And it just sounded totally bizarre to me.

        
        

        It actually took me a little while to get used to how they sound, which I think for a lot of people seem strange, but because most people it's just they sound so natural because you heard them growing up. But somehow my parents didn't play it around the house. And so it took me a little while to get used to it.

        
        

        But then I just became completely obsessed with the Beatles and Bob Dylan.

        
        

        Speaker A

        00:05:28.500 - 00:05:30.900

        So what was the music scene like at OU when you were there?

        
        

        Speaker B

        00:05:31.140 - 00:06:12.930

        There's sort of two aspects to it. There's the rock clubs uptown, which have a lot of garage rock type bands.

        
        

        And then when I was first going to school here, there was a lot of jam bands around, which, you know, I like the Grateful Dead and some of that stuff. But I was curious of having Southeast Engine be something different than the garage rock and the jam band scene today.

        
        

        There's a lot of like indie rock sounding bands in Athens. Each club kind of has its own vibe, you know, like the Union. And there's a lot of rock and roll happening there.

        
        

        And then there's bars that kind of cater more towards jam ban and things like. But there's also a real like old time music element here. Sort of Appalachian old time music. Not necessarily bluegrass, but old time.

        
        

        Speaker A

        00:06:12.930 - 00:06:13.330

        Right.

        
        

        Speaker B

        00:06:13.490 - 00:06:42.510

        And there's a couple groups around here that play that music and that influenced us more recently. But I think it was always kind of an influence living here and those sounds just seeping in. Folk music in general, going back to the 20s and 30s.

        
        

        You can find all our albums available@southwestengine.com and you can also find information on the band there. And you can actually read all the lyrics, hear certain songs from each of our albums@westeastengine.com that was a pretty intentional.

        
        

        Speaker A

        00:06:42.510 - 00:06:47.870

        Choice then in terms of a production method. Who had you read about that did it that way that you wanted to emulate I don't know.

        
        

        Speaker B

        00:06:47.870 - 00:07:25.170

        Even, you know, most of the Bob Dylan albums are all always recorded live, Even a lot of the Beatles stuff. The basic tracking was recorded live.

        
        

        And even really, you know, even going back and looking like the Beach Boys, Pet Sounds and Smile sessions, even these really advanced production techniques and arrangements, a lot of the basic tracking was still done with the group. You put the work into that initial live performance, and then you just do the overdub.

        
        

        I only wanted to overdub stuff that we couldn't do, that we couldn't do in those initial tracks, you know, because we had our hands full.

        
        

        Speaker A

        00:07:25.250 - 00:07:26.370

        Who did y' all work with?

        
        

        Speaker B

        00:07:26.450 - 00:07:36.590

        We work with a studio here in Athens called Three Elliot Studios, and there's a engineer, slash producer there named Josh Antonuccio. We've been working with him since our first studio album.

        
        

        Speaker A

        00:07:36.910 - 00:07:38.430

        That's nice to have that continuity.

        
        

        Speaker B

        00:07:38.590 - 00:07:51.790

        Yeah, I just. Josh and us, we speak the same language musically.

        
        

        I feel like we have the same vocabulary, and he just gets our perspective and where we're coming from and. And he's just a really good friend of ours, so I always feel really comfortable in the studio.

        
        

        Speaker A

        00:07:51.790 - 00:07:56.670

        Sure. That goes along well, especially if you're going to be tracking live. That really makes a difference.

        
        

        Speaker B

        00:07:57.260 - 00:08:11.100

        Yeah, yeah. And Josh is. You know, Josh has been.

        
        

        He's sort of been like the fifth member of the band in a lot of ways, and he sort of evolved with us, and, you know, we're always. You know, he'll challenge us and we'll challenge him. You know, it's been a really good relationship.

        
        

        Speaker A

        00:08:11.100 - 00:08:15.260

        Do you feel that you have captured the sound you want to capture in your recording?

        
        

        Speaker B

        00:08:15.580 - 00:08:39.750

        Yeah, I do. I mean, I. You know, each. I think all the albums that we've done there at 3 Elliott Studios sound great. Each.

        
        

        Each time we make an album, you always kind of. I don't know what it is, but you always see musicians kind of swinging back and forth with each album, like.

        
        

        Well, you know, the last time we had the album was really epic and dense, and this time we wanted more space. I don't know. That's just a natural tendency where you want to compensate for what you've done previously.

        
        

        Speaker A

        00:08:39.910 - 00:08:40.310

        Sure.

        
        

        Speaker B

        00:08:40.630 - 00:08:49.950

        And you just maybe just don't want to repeat the same things, do the same things over and over. But. So I think with each album, we've gone for a specific thing, been able to achieve it.

        
        

        Speaker A

        00:08:49.950 - 00:08:53.290

        If someone were to see you live currently, what would they expect?

        
        

        Speaker B

        00:08:53.770 - 00:09:32.300

        Well, right now we're doing about at least half of the new album, Canary, and we typically just choose Songs that translate best live. We definitely differentiate between how to work in a studio and how to work in a live setting.

        
        

        So I think in the live shows, you know, whatever songs from each album have translated the best live over the years. And then we're definitely wanting to pull some from our new material and our new album.

        
        

        And we definitely play songs from all of our previous albums as well. Typically we try to keep it largely with high energy songs. We do play some quieter ones too. We don't shy away from doing a quiet song.

        
        

        Try to, you know, reign things back sometimes.

        
        

        Speaker A

        00:09:32.380 - 00:09:34.219

        So you do road test new material?

        
        

        Speaker B

        00:09:34.460 - 00:09:58.320

        We do sometimes. It just depends. Yeah.

        
        

        Like we were definitely doing some of the songs from our new album before it came out and I don't know, sometimes that's a good idea, sometimes maybe it's not, but because you're still working out the arrangements and I just feel like sometimes you can practice a song a million times in your basement, but you're really not going to figure out how to play live until you start playing it live.

        
        

        Speaker A

        00:09:58.320 - 00:09:58.720

        Right.

        
        

        Speaker B

        00:09:59.520 - 00:10:09.520

        I just find that we'll think that we've got it down completely and then you go play live and I don't know, usually it takes a few times in front of an audience for it to really start clicking the way you want it to.

        
        

        Speaker A

        00:10:10.080 - 00:10:17.600

        What song off of Canary changed the most from that original, like Play in the Basement to the actual choice of heading into the studio with...]]>f6c34ee0-9c27-4a9f-88a0-40bb3df679a6Fri, 21 Nov 2025 02:02:00 -040026:41truefull12031203Country Fried Rock 1202: Shurman on Austin, BBQ, and MusicSummary

        Back in 2011, we chatted with Aaron Beavers of Shurman. Surprising everyone, they reunited in August 2025 for a number of tour dates.

        Sloane kicks things off with a warm welcome to Aaron from the band Shurman, and it's all about that sweet, sweet vibe of creativity in music. Right from the get-go, they dive into the heart of the matter, how music festivals bring artists together, not just for the love of the music, but for the chance to reconnect with old friends and share new tunes. Erin reflects on the joys of making music with pals, highlighting how it’s less about the cash and more about the camaraderie and experiences. They chat about Shurman's latest holiday record, which started as a tongue-in-cheek joke during a scorching Texas summer but turned into a surprisingly successful project. The convo flows from the essence of their musical journey in Austin to the quirky tales of life on the road, making it clear that for these musicians, it’s all about keeping it real and staying connected to their roots.

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2011
        • Shurman
        • You will probably enjoy this conversation from 2015 with Aaron Lee Tasjan
        • Toss a few in our Tip Jar!
        
        

        Show Notes

        Diving into the vibrant world of music and creativity, the latest episode of Country Fried Rock brings listeners a delightful chat with Aaron from the band Shurman. The conversation flows like a sweet melody, starting with a nostalgic recount of a recent rendezvous in Nashville, where the duo reminisces about the electric atmosphere of outdoor shows and the camaraderie that music festivals foster. Aaron expresses the joy of jamming with old friends, highlighting the essence of music not just as a profession but as a cherished connection among musicians who rarely get to meet. The discussion unfolds into a nuanced exploration of the challenges faced by artists, particularly the struggle for exposure in an industry that often prioritizes profit over passion. Aaron shares candid insights about the realities of touring life, the financial hurdles, and the sheer joy of performing despite the odds.

        As the episode progresses, the conversation takes a fun twist as Aaron reveals the story behind their latest holiday record, which unexpectedly became a hit. What started as a playful idea during a scorching Texas summer evolved into a project that not only showcases Shurman's musical prowess but also weaves in a sense of humor and irony about creating Christmas songs in the heat. The banter between the hosts and Aaron adds a laid-back vibe, making it feel like a friendly hangout rather than a formal interview. The narrative delves deeper into the roots of their music style, with Aaron sharing anecdotes about his punk rock beginnings and the evolution of their sound, blending country, rock, and soulful influences. This episode is not just a glimpse into Shurman’s journey but a heartfelt celebration of friendship, creativity, and the joy of making music.

        Listeners will leave with a sense of connection to the artists and a greater appreciation for the stories that shape the songs they love. With a sprinkle of humor and a whole lot of heart, this episode paints a vivid picture of the music scene and the bonds it creates, inviting everyone to tune in and enjoy the ride.

        Chapters

        00:00 Introduction to Country Fried Rock

        04:24 The Birth of a Band

        09:48 The Journey of Musical Discovery

        20:54 The Journey to Austin: Musical Authenticity and Personal Growth

        22:22 The Influence of Austin's Music Scene

        Takeaways

        • In the heart of Nashville, the vibe of music festivals is all about reconnecting with old friends and sharing creative energy, rather than just chasing the big bucks.
        • Aaron from Shurman passionately shares that music is deeply rooted in friendships, and collaborating with old pals is the ultimate creative high.
        • The unpredictable journey of creating a Christmas album during a scorching Texas summer led to unexpected musical success, showcasing the magic of spontaneity.
        • The rich musical history of Austin has given Aaron a sense of authenticity and confidence that fuels the band's creativity and growth.
        • Aaron reflects on how his songwriting has evolved, highlighting the transformative nature of music and how past experiences shape current expressions.
        • The camaraderie and support among musicians in Austin creates an inviting atmosphere where creativity flourishes, contrasting sharply with the competitive nature of larger cities.
        
        

        Mentioned in this Episode

        • Shurman
        • Blues Traveler
        • Mother Truckers
        • Blue Shop
        • Stonehoney
        • Whiskey Town
        • Vanguard
        • Sustain
        • Universal Republic
        
        

        Recommended If You Like

        Country Fried Rock, podcast episode, musician interviews, creative inspiration, Nashville music scene, Shurman band, Americana music, Texas music, music festivals, songwriting process, holiday music, music collaboration, indie music, country rock, live performances, recording studio, acoustic music, music industry insights, musical influences, music promotion

        Transcript

        Speaker A

        00:00:00.800 - 00:00:10.080

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey, Sloan.

        Speaker B

        00:00:10.080 - 00:00:12.080

        How you doing? This is Erin from the band Sherman.

        Speaker A

        00:00:12.320 - 00:00:16.320

        Hey, Erin. Thanks a bunch for being with us. I'm so glad I got to meet you in Nashville this year.

        Speaker B

        00:00:16.720 - 00:00:21.120

        What a fun time that was. Wasn't that great? Amh great. I just had such a blast.

        
        

        Speaker A

        00:00:21.520 - 00:00:27.520

        Perfect weather, perfect time. Country Fried rock out in Nashville. A little outdoor show of you solo.

        
        

        Speaker B

        00:00:27.880 - 00:00:38.360

        Yeah, you know, it was kind of a laugh that popped in with some old friends, and I never turned down, if I can make music with old friends, that's kind of as good as it gets, you know?

        
        

        Speaker A

        00:00:38.680 - 00:00:41.800

        You know, that is exactly what music festivals are all about.

        
        

        Speaker B

        00:00:42.120 - 00:01:37.170

        You know, it really is, because you're, you know, half a lot of those times the bands that are playing are doing it in order to get exposure. You know, they're not doing it so for the huge payday. And so you're kind of just going, well, okay, I'm eating the show. I'm handling the expenses.

        
        

        I'm doing this. I'm taking care of himself, which as musicians, have a hard time doing, in case you haven't heard.

        
        

        Yeah, but, you know, those kind of conversations, you get to meet with all your old friends who are touring all over the country as well, and you don't get to see them except for maybe south by southwest and the AMAs and all the clients and CMJ and, you know, a couple times a year, you'll all get together and you're lucky enough, there's instruments around and everybody gets to play some songs and, you know, not only catch up on what everybody's girlfriends, wives, kids, brothers, sisters, moms and dads are doing, but also, you know, get to catch up musically on whatever it's got coming down, you know, the creative pipeline as far as what's their new song or what's they're excited about and a lot of times, you know, what bands we're kind of all listening to.

        
        

        Speaker A

        00:01:37.170 - 00:01:47.610

        You know, it's funny that you say that, because that's actually how I found you. We did an interview a while back with Josh and Teal from the Mother Truckers, and that's how I found Sherman.

        
        

        Speaker B

        00:01:48.010 - 00:02:20.130

        Oh, yeah, we love Josh and Teal. They're both. They both make appearances not on the same song, but in separate songs.

        
        

        Our holiday record that we have, Little Sherman, the holiday album. Oh, cool. She'll sing the song. I always wanted to do a duet with her, so I wrote a song to do with my drummer and bass player, Mike.

        
        

        And then I also always wanted to have an instrumental, just like full on, you know, guitar, rock, you know, instrumental. And never be able to do that. When you're friends with someone like Josh Z, those kind of things seem a little bit more possible.

        
        

        Speaker A

        00:02:21.650 - 00:02:25.970

        So wait, I know that you have other things in the work for 2012. You have a holiday record out too?

        
        

        Speaker B

        00:02:26.330 - 00:04:03.200

        Yeah, we just released it last week as a matter of fact. It's been incredibly successful. I mean we've had. It's the most record we've ever sold online of any album we've done.

        
        

        It's basically we did after we finished our last studio record.

        
        

        It was kind of as a joke, our bass player said, you know, it was the middle or, you know, end of July, middle of August, when we were wrapping up the new studio record and we were experiencing what was the hottest summer that Texas had ever had and the history of keeping track of temperature. And we had almost...]]>Summary

        Back in 2011, we chatted with Aaron Beavers of Shurman. Surprising everyone, they reunited in August 2025 for a number of tour dates.

        Sloane kicks things off with a warm welcome to Aaron from the band Shurman, and it's all about that sweet, sweet vibe of creativity in music. Right from the get-go, they dive into the heart of the matter, how music festivals bring artists together, not just for the love of the music, but for the chance to reconnect with old friends and share new tunes. Erin reflects on the joys of making music with pals, highlighting how it’s less about the cash and more about the camaraderie and experiences. They chat about Shurman's latest holiday record, which started as a tongue-in-cheek joke during a scorching Texas summer but turned into a surprisingly successful project. The convo flows from the essence of their musical journey in Austin to the quirky tales of life on the road, making it clear that for these musicians, it’s all about keeping it real and staying connected to their roots.

        Links

        • REMINDER: IGNORE ALL LINKS OR EVENTS MENTIONED IN THIS EPISODE FROM 2011
        • Shurman
        • You will probably enjoy this conversation from 2015 with Aaron Lee Tasjan
        • Toss a few in our Tip Jar!
        
        

        Show Notes

        Diving into the vibrant world of music and creativity, the latest episode of Country Fried Rock brings listeners a delightful chat with Aaron from the band Shurman. The conversation flows like a sweet melody, starting with a nostalgic recount of a recent rendezvous in Nashville, where the duo reminisces about the electric atmosphere of outdoor shows and the camaraderie that music festivals foster. Aaron expresses the joy of jamming with old friends, highlighting the essence of music not just as a profession but as a cherished connection among musicians who rarely get to meet. The discussion unfolds into a nuanced exploration of the challenges faced by artists, particularly the struggle for exposure in an industry that often prioritizes profit over passion. Aaron shares candid insights about the realities of touring life, the financial hurdles, and the sheer joy of performing despite the odds.

        As the episode progresses, the conversation takes a fun twist as Aaron reveals the story behind their latest holiday record, which unexpectedly became a hit. What started as a playful idea during a scorching Texas summer evolved into a project that not only showcases Shurman's musical prowess but also weaves in a sense of humor and irony about creating Christmas songs in the heat. The banter between the hosts and Aaron adds a laid-back vibe, making it feel like a friendly hangout rather than a formal interview. The narrative delves deeper into the roots of their music style, with Aaron sharing anecdotes about his punk rock beginnings and the evolution of their sound, blending country, rock, and soulful influences. This episode is not just a glimpse into Shurman’s journey but a heartfelt celebration of friendship, creativity, and the joy of making music.

        Listeners will leave with a sense of connection to the artists and a greater appreciation for the stories that shape the songs they love. With a sprinkle of humor and a whole lot of heart, this episode paints a vivid picture of the music scene and the bonds it creates, inviting everyone to tune in and enjoy the ride.

        Chapters

        00:00 Introduction to Country Fried Rock

        04:24 The Birth of a Band

        09:48 The Journey of Musical Discovery

        20:54 The Journey to Austin: Musical Authenticity and Personal Growth

        22:22 The Influence of Austin's Music Scene

        Takeaways

        • In the heart of Nashville, the vibe of music festivals is all about reconnecting with old friends and sharing creative energy, rather than just chasing the big bucks.
        • Aaron from Shurman passionately shares that music is deeply rooted in friendships, and collaborating with old pals is the ultimate creative high.
        • The unpredictable journey of creating a Christmas album during a scorching Texas summer led to unexpected musical success, showcasing the magic of spontaneity.
        • The rich musical history of Austin has given Aaron a sense of authenticity and confidence that fuels the band's creativity and growth.
        • Aaron reflects on how his songwriting has evolved, highlighting the transformative nature of music and how past experiences shape current expressions.
        • The camaraderie and support among musicians in Austin creates an inviting atmosphere where creativity flourishes, contrasting sharply with the competitive nature of larger cities.
        
        

        Mentioned in this Episode

        • Shurman
        • Blues Traveler
        • Mother Truckers
        • Blue Shop
        • Stonehoney
        • Whiskey Town
        • Vanguard
        • Sustain
        • Universal Republic
        
        

        Recommended If You Like

        Country Fried Rock, podcast episode, musician interviews, creative inspiration, Nashville music scene, Shurman band, Americana music, Texas music, music festivals, songwriting process, holiday music, music collaboration, indie music, country rock, live performances, recording studio, acoustic music, music industry insights, musical influences, music promotion

        Transcript

        Speaker A

        00:00:00.800 - 00:00:10.080

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey, Sloan.

        Speaker B

        00:00:10.080 - 00:00:12.080

        How you doing? This is Erin from the band Sherman.

        Speaker A

        00:00:12.320 - 00:00:16.320

        Hey, Erin. Thanks a bunch for being with us. I'm so glad I got to meet you in Nashville this year.

        Speaker B

        00:00:16.720 - 00:00:21.120

        What a fun time that was. Wasn't that great? Amh great. I just had such a blast.

        
        

        Speaker A

        00:00:21.520 - 00:00:27.520

        Perfect weather, perfect time. Country Fried rock out in Nashville. A little outdoor show of you solo.

        
        

        Speaker B

        00:00:27.880 - 00:00:38.360

        Yeah, you know, it was kind of a laugh that popped in with some old friends, and I never turned down, if I can make music with old friends, that's kind of as good as it gets, you know?

        
        

        Speaker A

        00:00:38.680 - 00:00:41.800

        You know, that is exactly what music festivals are all about.

        
        

        Speaker B

        00:00:42.120 - 00:01:37.170

        You know, it really is, because you're, you know, half a lot of those times the bands that are playing are doing it in order to get exposure. You know, they're not doing it so for the huge payday. And so you're kind of just going, well, okay, I'm eating the show. I'm handling the expenses.

        
        

        I'm doing this. I'm taking care of himself, which as musicians, have a hard time doing, in case you haven't heard.

        
        

        Yeah, but, you know, those kind of conversations, you get to meet with all your old friends who are touring all over the country as well, and you don't get to see them except for maybe south by southwest and the AMAs and all the clients and CMJ and, you know, a couple times a year, you'll all get together and you're lucky enough, there's instruments around and everybody gets to play some songs and, you know, not only catch up on what everybody's girlfriends, wives, kids, brothers, sisters, moms and dads are doing, but also, you know, get to catch up musically on whatever it's got coming down, you know, the creative pipeline as far as what's their new song or what's they're excited about and a lot of times, you know, what bands we're kind of all listening to.

        
        

        Speaker A

        00:01:37.170 - 00:01:47.610

        You know, it's funny that you say that, because that's actually how I found you. We did an interview a while back with Josh and Teal from the Mother Truckers, and that's how I found Sherman.

        
        

        Speaker B

        00:01:48.010 - 00:02:20.130

        Oh, yeah, we love Josh and Teal. They're both. They both make appearances not on the same song, but in separate songs.

        
        

        Our holiday record that we have, Little Sherman, the holiday album. Oh, cool. She'll sing the song. I always wanted to do a duet with her, so I wrote a song to do with my drummer and bass player, Mike.

        
        

        And then I also always wanted to have an instrumental, just like full on, you know, guitar, rock, you know, instrumental. And never be able to do that. When you're friends with someone like Josh Z, those kind of things seem a little bit more possible.

        
        

        Speaker A

        00:02:21.650 - 00:02:25.970

        So wait, I know that you have other things in the work for 2012. You have a holiday record out too?

        
        

        Speaker B

        00:02:26.330 - 00:04:03.200

        Yeah, we just released it last week as a matter of fact. It's been incredibly successful. I mean we've had. It's the most record we've ever sold online of any album we've done.

        
        

        It's basically we did after we finished our last studio record.

        
        

        It was kind of as a joke, our bass player said, you know, it was the middle or, you know, end of July, middle of August, when we were wrapping up the new studio record and we were experiencing what was the hottest summer that Texas had ever had and the history of keeping track of temperature. And we had almost like 100 plus days and we just built our new studio and we didn't quite.

        
        

        One of the last things that we kind of dealt with when we were making the studio was the air conditioning and the how will we cool this thing off? Kind of a two story, like little mini house behind our drummer's house. It's just we call our little tree house. But it was 125 degrees in that studio.

        
        

        You have to keep the AC off while we were tracking. So there was very much a sense of urgency. We've got to get this or I'm going to pass out.

        
        

        And as a joke we kind of said the end, like we should make a Christmas record. You know, it's 100 and, you know, 104 degrees, you know, and we're writing songs about like it's snowing outside and all this kind of stuff.

        
        

        And we were doing it totally tongue in cheek, right. We started like writing these songs, like good. This is a good song, you know.

        
        

        And so we started recording it and sending some stuff around to our friends. Like kind of jokingly like John Popper from Blue Shop. Yeah, you know, everybody's from Roger Klein, the Peacemakers and Friends in Stone, Honey.

        
        

        And we ended up thinking, why don't you guys come down and help us make this record. We're gonna just do some original, maybe a couple of choice little covers. Like we did a cover of a band.

        
        

        I didn't know that the band did a Christmas song, but a fan sent it to us.

        
        

        Speaker A

        00:04:03.200 - 00:04:04.280

        I didn't know that either.

        
        

        Speaker B

        00:04:04.520 - 00:04:24.740

        Yeah, it's called it's a song called Christmas Must Be Tonight. They actually did a few different alternate takes of it off Kingdom Come record I think it was. And they sent us a copy of the.

        
        

        Of the song and loved it and we wouldn't actually cut it. Caught the guys from Stonehoney to come in and do some harmony vocals and our. And and Phil from Stonehoney played guitar on it.

        
        

        So yeah, it was really kind of a cool project.

        
        

        Speaker A

        00:04:24.980 - 00:04:33.380

        When I first heard about the band Sherman, I was trying to spell it with an E. And you know we're based in the south and the war is not over yet here.

        
        

        Speaker B

        00:04:34.260 - 00:04:36.020

        So I thought exactly why it's with you.

        
        

        Speaker A

        00:04:36.100 - 00:04:40.020

        I thought, wow, that's really brave of a Texas band to name themselves Sherman.

        
        

        Speaker B

        00:04:40.020 - 00:06:24.120

        Well, it's even crazy because I actually, you know, my high school years and my mother lives in Georgia and so yeah, to have General Sherman as part of your name after what he did in the Civil War, probably not the best marketing. And oddly enough, I mean that's how the name kind of how came about. I mean there's a couple different reasons.

        
        

        It was like one of those things where the name clicks with me because for a few different reasons in my life I thought of it when I was younger aiming a band Sherman because my mother went to high school in Denison, Texas and their arch rival was the Sherman Bearcats.

        
        

        And I always thought that would be really funny because at the time I was trying to put together punk bands and if you had a punk band, it didn't offend your parents or at least a really good name. So it was early on that was in junior high when I was putting their punk my skate punk dude. And it's funny enough, I don't remember.

        
        

        I was talking to a friend of mine, Ben Peeler on the phone and he said we were talking about the super bowl was going on in Atlanta. And he said, you know what they need? They need Sherman to come back through there and melt all that ice. Is this kind of a joke? You know, I was like.

        
        

        And it was like, you know what that's. And at the time I was. The band was called Blue Train, which is just a horrible name. And even a funnier story is like I basically living in Los.

        
        

        I got offered a gig.

        
        

        I was out at the bar and this guy who was like, yeah, I booked a whiskey at Go Go and I just moved to la and I was, you know, like starry eyed trying to put a ban together. I didn't even have a band. And I just said I have a Band I want to come play. There he goes. Great, man. He's like, how about next Friday night?

        
        

        And he's like, what's the name of the band? And I was looking around the room and there was all these posts, like, all these rock posters everywhere in this bar that we were at.

        
        

        And there was also this in the corner. It was that John Coltrane poster that said Blue Train on it. Blue Train. And I came to find out later that they were the guys.

        
        

        Blue Train were the two guys for Baywatch. Wasn't really a really hip maybe.

        
        

        Speaker A

        00:06:24.840 - 00:06:31.080

        Yeah, you're cool. When you started your first little skate punk band, were you writing your own stuff then or were y' all covering punk?

        
        

        Speaker B

        00:06:31.080 - 00:07:12.300

        Oh, yeah, I was writing, like, kind of got into music through.

        
        

        I had an English teacher who I always really loved music growing up, but I had an English teacher in, like, middle school who got me into all these poetry contests. Started getting really into that.

        
        

        It was funny because I was a lost kind of punk kid trying to get into sports and, you know, awkward seventh grade taller guy in my class and doing poetry, you know, I kind of really thought about it. And then I entered a few of these contests and I won one of them.

        
        

        And I actually got some where I was like, poetry's kind of hokey, but when the songwriting. Now, that's pretty cool, you know, that sounds a chickal. Like, I learned really quickly. Okay, this. All right, I get it. I get it.

        
        

        The rest is a lot of truck stops and Florida line vans down the.

        
        

        Speaker A

        00:07:12.300 - 00:07:17.620

        Road, you know, did you have some musical stylers or specific bands that you were trying to model yourself after?

        
        

        Speaker B

        00:07:17.940 - 00:07:48.400

        You know, when I was first coming out, I was into punk rock. I think secretly I wanted to be like, a member of Van Halen, you know, I think everybody did in the early 80s.

        
        

        And you're living like I lived up in, like, North Dallas.

        
        

        I just remember a friend of mine's mom took us to go see Van Halen in concert, and I came out with, like, you know, four bandanas tied around my left leg, if that tells you anything. Mom, I think I want to get a sword for Christmas. She's like, a sword? What are you going to do with the sword? I was like, I don't know.

        
        

        Dave Lee Roth throws one around, looks pretty cool. Seems to get a lot of chicks.

        
        

        Speaker A

        00:07:49.280 - 00:07:51.680

        Women will throw their underwear on stage at me, mom, if I do this.

        
        

        Speaker B

        00:07:51.680 - 00:08:08.140

        Exactly right, you know, does something. I can't figure it out. I figured out that the results are positive results, but I can't figure out why the sword is doing this.

        
        

        I didn't get it until I saw, you know, Sami remains the same. Then full circle. Hey, this is Aaron from Sherman on Country Fried rock.

        
        

        Speaker A

        00:08:08.620 - 00:08:14.060

        As you were first forming those bands, what kind of music were y' all working on and how did that move to where you are now?

        
        

        Speaker B

        00:08:14.460 - 00:10:56.360

        I'd say it was a lot more folk and a lot more country. We had like a stand up bass player at the time and so I was like an air force brat as a young kid.

        
        

        So I kind of traveled around a lot and my family just in general, you know, Winnebagos and trailers and pop up trailers. And their idea of having a good weekend was going on camp for three days.

        
        

        And so, you know, the camaraderie of being on the road, it was just something that always just really, really, really, really came, you know, for me. Something I've always loved. Still to this day, I really. It's one of my favorite parts about, you know, being a musician.

        
        

        But you know, I did a lot of traveling kind of growing up and I think it kind of set me on a path of, you know, wanting to make music. But when I went, right before I moved to Hawaii, I guess there's this long winded circular story here.

        
        

        I. I had a bunch of friends that were going to be moving out to Hawaii. They were all kind of saving our money.

        
        

        And what I was actually doing, I was working on them mountain as like a lift off in the summer, you know, like, I just like kind of bailed out of college at Arizona State and I was like, what am I gonna do? I'll go up to Colorado mountains, you know, it's snowing and I've always wanted to do that. So I got a job doing that.

        
        

        I met a bunch of these crazy, you know, mean guys who are all like kind of getting in this new sport called snowboarding. And everybody was like, you know, it was like a really cool time to be there. A bunch of us had this kooky plan that went to snowman.

        
        

        So we were gonna save up all the money we made at the resort and, and go to Hawaii. And at the time, my dad was a polyhouse.

        
        

        I flew for free and said, oh, this will be, you know, I can still come home for Christmas and live there for a while. I ended up going out there for a few years and I only went out with like a few, a handful of records.

        
        

        And one of those records was the Uncle Tupelo record, you know, the one with the date on it, 1992, whatever. And I just Was over the]]>bc4fde6b-8f9e-44e5-9aa7-80e55bd77766Fri, 14 Nov 2025 02:02:00 -040028:34truefull12021202Country Fried Rock 1201: Dawes on Food, Fun, and Funky Sounds on TourSummary

        Back in 2011, we chatted with the guys from Dawes. Sloane Spencer kicks things off with an easygoing chat with Dawes, and it’s anything but your average interview. They dig into the band’s musical origin story, tracing it back to a family that didn’t just play music, they lived it. Picture jam sessions in the living room, with dad laying down the soulful grooves that sparked a lifelong love for sound.

        As they swap stories of sun-soaked California days and the wild mix of influences that shaped the band’s vibe, one thing becomes crystal clear: collaboration isn’t just part of Dawes’ process: it is the process. They dive into how songs evolve on stage, sometimes turning into something completely unexpected (and even better) than what was captured in the studio.

        Sprinkled throughout are laughs about life on the road, local food gems, and the never-ending hunt for a decent cup of coffee. It’s a conversation that proves music isn’t just about the notes; it’s about the ride, the stories, and the people you meet along the way.

        Links

        • REMINDER: IGNORE ANY LINKS OR DATES MENTIONED IN THE EPISODE
        • Dawes
        • You may enjoy this conversation from 2015 with Lilly Hiatt
        • Toss a few in our Tip Jar!
        
        

        Show Notes

        In this episode, it’s less of an interview and more like a jam session with friends. Here’s what goes down:

        • The hosts sit down with a musician whose roots run deep in R&B, funk, and soul, thanks to a dad who could play piano like nobody’s business.
        • Growing up in a household where family dinners came with a side of singing, music wasn’t just around, it was a way of life.
        • They talk about how California’s rich and eclectic music scene helped shape his sound from the very beginning.
        • The conversation flows from early influences to the evolution of his band, Dawes.
        • Songwriting? It’s a team effort. He brings in the bones—chords and lyrics—and the rest of the band helps build it out into something that truly connects.
        • Live shows are a different beast altogether. He shares how songs take on a whole new energy on stage, sometimes changing entirely from the studio version.
        • They swap stories about memorable gigs, unpredictable venues, and the unique energy each audience brings.
        • And of course, there’s plenty of humor, warmth, and behind-the-scenes moments that show the human side of being a working musician.
        
        

        At its core, the episode is about more than just music. It’s about collaboration, creativity, and what happens when you grow up with rhythm in your bones.

        Chapters

        00:00 Introduction to Country Fried Rock

        00:19 The Influence of Family on Musical Journey

        05:20 Exploring the Road: Food and Music

        11:32 Transitioning to New Beginnings

        15:26 The Resurgence of Vinyl and Gear Maintenance

        Takeaways

        • The guest grew up in a home where R&B and funk were just part of the daily soundtrack. That early exposure shaped who they are as an artist today.
        • Dawes isn’t a one-person show. Songwriting is a full-band effort, with everyone bringing something to the table to shape the final sound.
        • Playing live is where things really come alive. Songs often shift and evolve on stage, making every performance feel fresh and unpredictable.
        • Life on tour isn’t just about the music. They’re also big on checking out local food spots. They aim to eat healthy...but they’re not skipping the good stuff either.
        • The band is all about keeping things real in the studio. They stick with analog gear and an old-school recording vibe, largely thanks to their producer’s influence.
        • Moving from openers to headliners didn’t happen overnight. The band reflects on the ups and downs of that journey, and how they’re planning smart for what comes next.
        
        

        Mentioned in this Episode

        • Dawes
        • Vetiver
        • Bright Eyes
        • Alison Krauss
        • Brett Dennen
        • Otis Redding
        • James Brown
        • Joni Mitchell
        • Jackson Browne
        • Grateful Dead
        • Warren Zevon
        • Whole Foods
        • First Avenue
        • Delta Spirit
        • Langhorne Slim
        • Romney Rye
        • Steve Soto
        • The Full Tones
        
        

        Recommended If You Like

        country music podcast, musician interviews, songwriting inspiration, creativity in music, Dawes band interview, California music scene, funk and soul influences, acoustic guitar arrangements, live music performances, touring experiences, band dynamics, music production process, vinyl records resurgence, healthful food on tour, coffee culture in music, local dining spots, music collaboration, festival performances, artist influences, music gear and equipment

        Transcript

        Speaker A

        00:00:00.800 - 00:00:12.800

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey, Taylor. This is Sloan Spencer from Country Fried Rock.

        Speaker B

        00:00:12.880 - 00:00:13.360

        Hi.

        Speaker A

        00:00:13.360 - 00:00:14.400

        How are you doing?

        
        

        Speaker B

        00:00:14.400 - 00:00:14.720

        Great.

        
        

        Speaker A

        00:00:14.800 - 00:00:18.080

        Fantastic. So thank you much. I appreciate you being with us on Country Fried Rock.

        
        

        Speaker B

        00:00:18.080 - 00:00:19.520

        Yeah, thanks for having me.

        
        

        Speaker A

        00:00:19.840 - 00:00:21.680

        How did you get into music as a kid?

        
        

        Speaker B

        00:00:21.840 - 00:00:48.320

        My brother and I grew up in a musical family, and whenever there was time to. For, like, you know, at the end of, like, family dinners or holidays or anything, we don't. Everyone would just always been singing.

        
        

        Our dad was a great piano player and songwriter, so he doesn't go much anymore. But, yeah, he brought us up very much in love with music, and we never really felt like.

        
        

        We never really made a choice of, like, oh, this is what we're going to do. It was always just already agreed upon saying that music was what our lives were going to be all about.

        
        

        Speaker A

        00:00:48.640 - 00:00:51.280

        Cool. So what kind of stuff did your dad play?

        
        

        Speaker B

        00:00:51.750 - 00:00:58.470

        It was more R and B, funk and soul kind of stuff, like Otis Redding and James Brown, and so that's what he brought us up on.

        
        

        Speaker A

        00:00:58.790 - 00:01:00.150

        Where'd the band name come from?

        
        

        Speaker B

        00:01:00.230 - 00:01:02.270

        That's me and the drummer's grandfather's name.

        
        

        Speaker A

        00:01:02.270 - 00:01:03.270

        Where'd y' all grow up?

        
        

        Speaker B

        00:01:03.510 - 00:01:10.150

        Los Angeles, California. Different parts. Started out in, like, Glendale and went to high school out in Malibu and different areas of la.

        
        

        Speaker A

        00:01:10.550 - 00:01:21.420

        The whole Southern California area has a lot of different musical influences. And your dad was into the funk in the R and B. What other kind of stuff played on your interests? As y' all were developing Thoughts was.

        
        

        Speaker B

        00:01:21.420 - 00:01:58.490

        Coming together, I started listening to a lot of stuff that I wasn't really thinking about it. I was just really getting into Joni Mitchell and Jackson Browne and the Grateful Dead and Warren Z. Von.

        
        

        As time went on, I started to realize that all these artists, they were all California artists.

        
        

        And I didn't even realize that at first, but I guess there's just something that permeated with their songwriting personalities that resonated with me that might have been that the fact that we were both coming from that same world. So that was a big.

        
        

        That was like, in terms of what California music comes from, that was a big deal for me, even though I wasn't even quite aware of it. And I think that even made it that much bigger of a deal.

        
        

        Speaker A

        00:01:59.130 - 00:02:09.690

        Even though y' all are on the same page creatively and with what's influencing you since you've come together with Dawes, how does that work for you all? As you all work together to develop a song as A group?

        
        

        Speaker B

        00:02:10.810 - 00:02:53.860

        Well, we. We. I write the song by myself, and then we all kind of come together to arrange them.

        
        

        When it comes to, like, how we're going to represent, how we're going to present the song, and we sort of lean on each other for what they're good at. You know, I'll have a song on acoustic guitar, and then I'll bring it to the guys and be like, how do you think we should do this?

        
        

        And then we'll kind of go through the different ideas till we arrive upon something that everyone feels like this is a good way to show people, this song. So we definitely lean on each other. I don't really, like, decide upon anything until we're all together.

        
        

        The only thing I do is the chords and the words and the melodies and then. And then everything else. What the drummer plays. The drummer decides what the bass player...]]>Summary

        Back in 2011, we chatted with the guys from Dawes. Sloane Spencer kicks things off with an easygoing chat with Dawes, and it’s anything but your average interview. They dig into the band’s musical origin story, tracing it back to a family that didn’t just play music, they lived it. Picture jam sessions in the living room, with dad laying down the soulful grooves that sparked a lifelong love for sound.

        As they swap stories of sun-soaked California days and the wild mix of influences that shaped the band’s vibe, one thing becomes crystal clear: collaboration isn’t just part of Dawes’ process: it is the process. They dive into how songs evolve on stage, sometimes turning into something completely unexpected (and even better) than what was captured in the studio.

        Sprinkled throughout are laughs about life on the road, local food gems, and the never-ending hunt for a decent cup of coffee. It’s a conversation that proves music isn’t just about the notes; it’s about the ride, the stories, and the people you meet along the way.

        Links

        • REMINDER: IGNORE ANY LINKS OR DATES MENTIONED IN THE EPISODE
        • Dawes
        • You may enjoy this conversation from 2015 with Lilly Hiatt
        • Toss a few in our Tip Jar!
        
        

        Show Notes

        In this episode, it’s less of an interview and more like a jam session with friends. Here’s what goes down:

        • The hosts sit down with a musician whose roots run deep in R&B, funk, and soul, thanks to a dad who could play piano like nobody’s business.
        • Growing up in a household where family dinners came with a side of singing, music wasn’t just around, it was a way of life.
        • They talk about how California’s rich and eclectic music scene helped shape his sound from the very beginning.
        • The conversation flows from early influences to the evolution of his band, Dawes.
        • Songwriting? It’s a team effort. He brings in the bones—chords and lyrics—and the rest of the band helps build it out into something that truly connects.
        • Live shows are a different beast altogether. He shares how songs take on a whole new energy on stage, sometimes changing entirely from the studio version.
        • They swap stories about memorable gigs, unpredictable venues, and the unique energy each audience brings.
        • And of course, there’s plenty of humor, warmth, and behind-the-scenes moments that show the human side of being a working musician.
        
        

        At its core, the episode is about more than just music. It’s about collaboration, creativity, and what happens when you grow up with rhythm in your bones.

        Chapters

        00:00 Introduction to Country Fried Rock

        00:19 The Influence of Family on Musical Journey

        05:20 Exploring the Road: Food and Music

        11:32 Transitioning to New Beginnings

        15:26 The Resurgence of Vinyl and Gear Maintenance

        Takeaways

        • The guest grew up in a home where R&B and funk were just part of the daily soundtrack. That early exposure shaped who they are as an artist today.
        • Dawes isn’t a one-person show. Songwriting is a full-band effort, with everyone bringing something to the table to shape the final sound.
        • Playing live is where things really come alive. Songs often shift and evolve on stage, making every performance feel fresh and unpredictable.
        • Life on tour isn’t just about the music. They’re also big on checking out local food spots. They aim to eat healthy...but they’re not skipping the good stuff either.
        • The band is all about keeping things real in the studio. They stick with analog gear and an old-school recording vibe, largely thanks to their producer’s influence.
        • Moving from openers to headliners didn’t happen overnight. The band reflects on the ups and downs of that journey, and how they’re planning smart for what comes next.
        
        

        Mentioned in this Episode

        • Dawes
        • Vetiver
        • Bright Eyes
        • Alison Krauss
        • Brett Dennen
        • Otis Redding
        • James Brown
        • Joni Mitchell
        • Jackson Browne
        • Grateful Dead
        • Warren Zevon
        • Whole Foods
        • First Avenue
        • Delta Spirit
        • Langhorne Slim
        • Romney Rye
        • Steve Soto
        • The Full Tones
        
        

        Recommended If You Like

        country music podcast, musician interviews, songwriting inspiration, creativity in music, Dawes band interview, California music scene, funk and soul influences, acoustic guitar arrangements, live music performances, touring experiences, band dynamics, music production process, vinyl records resurgence, healthful food on tour, coffee culture in music, local dining spots, music collaboration, festival performances, artist influences, music gear and equipment

        Transcript

        Speaker A

        00:00:00.800 - 00:00:12.800

        Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity. Country Fried Rock Music Uncovered Hey, Taylor. This is Sloan Spencer from Country Fried Rock.

        Speaker B

        00:00:12.880 - 00:00:13.360

        Hi.

        Speaker A

        00:00:13.360 - 00:00:14.400

        How are you doing?

        
        

        Speaker B

        00:00:14.400 - 00:00:14.720

        Great.

        
        

        Speaker A

        00:00:14.800 - 00:00:18.080

        Fantastic. So thank you much. I appreciate you being with us on Country Fried Rock.

        
        

        Speaker B

        00:00:18.080 - 00:00:19.520

        Yeah, thanks for having me.

        
        

        Speaker A

        00:00:19.840 - 00:00:21.680

        How did you get into music as a kid?

        
        

        Speaker B

        00:00:21.840 - 00:00:48.320

        My brother and I grew up in a musical family, and whenever there was time to. For, like, you know, at the end of, like, family dinners or holidays or anything, we don't. Everyone would just always been singing.

        
        

        Our dad was a great piano player and songwriter, so he doesn't go much anymore. But, yeah, he brought us up very much in love with music, and we never really felt like.

        
        

        We never really made a choice of, like, oh, this is what we're going to do. It was always just already agreed upon saying that music was what our lives were going to be all about.

        
        

        Speaker A

        00:00:48.640 - 00:00:51.280

        Cool. So what kind of stuff did your dad play?

        
        

        Speaker B

        00:00:51.750 - 00:00:58.470

        It was more R and B, funk and soul kind of stuff, like Otis Redding and James Brown, and so that's what he brought us up on.

        
        

        Speaker A

        00:00:58.790 - 00:01:00.150

        Where'd the band name come from?

        
        

        Speaker B

        00:01:00.230 - 00:01:02.270

        That's me and the drummer's grandfather's name.

        
        

        Speaker A

        00:01:02.270 - 00:01:03.270

        Where'd y' all grow up?

        
        

        Speaker B

        00:01:03.510 - 00:01:10.150

        Los Angeles, California. Different parts. Started out in, like, Glendale and went to high school out in Malibu and different areas of la.

        
        

        Speaker A

        00:01:10.550 - 00:01:21.420

        The whole Southern California area has a lot of different musical influences. And your dad was into the funk in the R and B. What other kind of stuff played on your interests? As y' all were developing Thoughts was.

        
        

        Speaker B

        00:01:21.420 - 00:01:58.490

        Coming together, I started listening to a lot of stuff that I wasn't really thinking about it. I was just really getting into Joni Mitchell and Jackson Browne and the Grateful Dead and Warren Z. Von.

        
        

        As time went on, I started to realize that all these artists, they were all California artists.

        
        

        And I didn't even realize that at first, but I guess there's just something that permeated with their songwriting personalities that resonated with me that might have been that the fact that we were both coming from that same world. So that was a big.

        
        

        That was like, in terms of what California music comes from, that was a big deal for me, even though I wasn't even quite aware of it. And I think that even made it that much bigger of a deal.

        
        

        Speaker A

        00:01:59.130 - 00:02:09.690

        Even though y' all are on the same page creatively and with what's influencing you since you've come together with Dawes, how does that work for you all? As you all work together to develop a song as A group?

        
        

        Speaker B

        00:02:10.810 - 00:02:53.860

        Well, we. We. I write the song by myself, and then we all kind of come together to arrange them.

        
        

        When it comes to, like, how we're going to represent, how we're going to present the song, and we sort of lean on each other for what they're good at. You know, I'll have a song on acoustic guitar, and then I'll bring it to the guys and be like, how do you think we should do this?

        
        

        And then we'll kind of go through the different ideas till we arrive upon something that everyone feels like this is a good way to show people, this song. So we definitely lean on each other. I don't really, like, decide upon anything until we're all together.

        
        

        The only thing I do is the chords and the words and the melodies and then. And then everything else. What the drummer plays. The drummer decides what the bass player plays that he decides.

        
        

        Speaker A

        00:02:54.420 - 00:03:03.740

        Y' all really have refined what it is people expect when they come to your shows. Are there any songs in particular that have evolved a lot for you all? With all of this time on the.

        
        

        Speaker B

        00:03:03.740 - 00:03:40.410

        Road, I think, like, with certain things, we end up. It ends up growing on stage and, like, you know, like a song like Love Is All I Am or a song on the new record called A Little Bit of Everything.

        
        

        Like, the dynamics don't get that big. It tends to be a smaller. Less like a smaller something that suits the song and just something that's mellow all throughout, and that's that.

        
        

        But then live, they end up having, like, an arc to it where they start at that level and then with the lyric and with the feeling of the song tends to grow a little bigger than it does in the record and then kind of come back down. So it. It doesn't kind of stay on this one level being this ballad, it turns into more of, like, a parked experience.

        
        

        Speaker A

        00:03:41.050 - 00:03:44.970

        Y' all are on the road quite a bit, obviously. What can you agree on to listen to?

        
        

        Speaker B

        00:03:45.130 - 00:04:25.350

        Well, whoever's driving tends to put on the music.

        
        

        You know, some guys are doing different stuff, so someone might be reading a book in the back and have the music faded up so they don't have to hear that or whatever. Or we're all listening to stuff. I mean, we all have different tastes, and they're sometimes sort of dictated by instrumental. Life is kind of cool.

        
        

        Like, our bass player listens to a lot of the R and B and, like, soul music and a lot of stuff that's, like, really bass driven, and it's perfect for him to be listening to that.

        
        

        And then I might listen to a lot of song based stuff, stuff that the band might not want to even sound like, but stuff that I respond to as a songwriter and you know, like along those lines, like we all kind of have our own tastes, but the same taste kind of.

        
        

        Speaker A

        00:04:25.750 - 00:04:29.670

        Do you get the opportunity to listen to any of the bands they're opening for you all?

        
        

        Speaker B

        00:04:30.240 - 00:04:53.040

        Totally. I tried. The band's gonna open for us. We want to make sure it's something that we want to be represented by as well.

        
        

        So like last fall when we went out and Vetiver was main support, that was a big deal for us because they're there. Those guys are heroes of ours, really. We've admired that band for a long time. Stuff like that.

        
        

        We always make sure that we feel represented by the band that's opening for us. So we always make sure to like give it a good listen before and during the tour.

        
        

        Speaker A

        00:04:53.200 - 00:04:56.800

        Have you had anyone in the last year or so that you really were just turned on to because of that?

        
        

        Speaker B

        00:04:57.370 - 00:05:17.050

        You know, we actually like, like everyone that we've gone out with hastened to be.

        
        

        Bands that we were already familiar with, like the Romney Rye were friends of ours beforehand and, you know, it was really fun to get to play with them every night. And then Vetiver were, you know, some heroes of ours. So, you know, examples like that.

        
        

        But there hasn't really been that many groups where we didn't know who they were before the show.

        
        

        Speaker A

        00:05:17.610 - 00:05:20.330

        So as y' all are on the road, where do you like to stop and eat?

        
        

        Speaker B

        00:05:20.730 - 00:05:33.480

        We always like to try to find local cool spots. I wouldn't call us health nuts, but we're definitely. We don't ever eat in any fast food places or anything.

        
        

        Not because we're against it, but just because I feel like once we open ourselves up to that being okay, I feel like we can get carried away.

        
        

        Speaker A

        00:05:33.480 - 00:05:36.680

        And it'll just be who's in charge of deciding where you go.

        
        

        Speaker B

        00:05:36.680 - 00:06:15.100

        I mean, I guess we all are, but. But we always have to really cater to Wiley, our bass player. He's, he's, he's. He's the one that doesn't eat any meat ever.

        
        

        So if there's a spot that's like a really great barbecue spot, like the only way we're gonna. We feel okay going there as if we make sure that he's taken care of when we're going somewhere else that can eat at.

        
        

        But we're all pretty healthy guys every time. Every city that we find a Whole Foods in, we're pretty excited about that. But like Today we're in Asheville.

        
        

        We just ate at an incredible breakfast spot, and we all had really weird local selections that were delicious, but it's not like. Yeah, but it wasn't like, oh, I'm gonna go get some fried biscuits and gravy or something like that. Early girl.

        
        

        Speaker A

        00:06:15.180 - 00:06:16.460

        Early girl. Is that where y' all went?

        
        

        Speaker B

        00:06:16.860 - 00:06:17.140

        Yeah.

        
        

        Speaker A

        00:06:17.140 - 00:06:18.300

        Oh, that place is great.

        
        

        Speaker B

        00:06:18.540 - 00:06:19.260

        You've heard of it?

        
        

        Speaker A

        00:06:19.260 - 00:06:19.900

        I love it.

        
        

        Speaker B

        00:06:20.060 - 00:06:23.020

        Yeah, it was incredible. That's what we just say is insanely good.

        
        

        Speaker A

        00:06:23.100 - 00:06:29.260

        I'm in the south, so I can say this, and I'm from the South. It can get difficult to find healthful food options on the road around here.

        
        

        Speaker B

        00:06:29.820 - 00:06:30.860

        Yeah, totally.

        
        

        Speaker A

        00:06:31.100 - 00:06:33.980

        I mean, I really respect the challenge that. That is for Wiley.

        
        

        Speaker B

        00:06:34.300 - 00:06:53.850

        Yeah, yeah, I know. It's. It's. It can be hard, but we figured out, I mean, the bigger cities always have a Whole Foods, right? As long as there's a Whole Foods, we're.

        
        

        We're pretty. We're all fine. Yeah, I mean, like, we. There's always like, a Thai place or something nearby that's. That makes it all right. So we don't.

        
        

        We don't get stuck with no options ever. That. That's good.

        
        

        Speaker A

        00:06:53.930 - 00:06:55.210

        So are y' all coffee people?

        
        

        Speaker B

        00:06:56.170 - 00:06:58.010

        Yeah, I'm a big coffee guy.

        
        

        Speaker A

        00:06:58.010 - 00:06:58.890

        What do you have to have?

        
        

        Speaker B

        00:06:58.970 - 00:07:27.300

        I don't know. I just like to find a strong cup of coffee wherever I go. I mean, if I. If I. There's nothing else than Starbucks.

        
        

        Even though it's not, like, my favorite, I at least know it's got some strength to it. But.

        
        

        But, I mean, like, there's some really awesome spots around the country, like, yeah, Intelligentsia and Blue Bottle and Stump Town and really cool beans that local spots sometimes brew. And that's always really fun to come across those spots.

        
        

        Speaker A

        00:07:27.380 - 00:07:30.100

        I mean, gosh, it's only been, what, five years? Is that right?

        
        

        Speaker B

        00:07:30.820 - 00:07:35.460

        Yeah, yeah, I guess so. I mean, our album came out officially about a year and a half ago.

        
        

        Speaker A

        00:07:35.460 - 00:07:40.820

        Or two years ago, as you all are moving then into this next one. Have you been road testing these songs?

        
        

        Speaker B

        00:07:41.520 - 00:08:16.220

        Yeah, we've been playing the new material on stages for a long time.

        
        

        I feel like most people that are familiar with Dawes know just about every song a new album, which, you know, for some people might be a bummer, but I think for most people, they'll be excited that these songs, they've sort of grown, like, they've watched the songs grow in front of them, and I.

        
        

        And, you know, the song that they might want to always hear live when they come to the show now they're going to get to have their recorded version finally. So I think it's a cool thing. But yeah, we've played our new material on stages more than I think other bands even tend to want to.

        
        

        Speaker A

        00:08:16.300 - 00:08:22.540

        Has anything changed in particular over time from when you first started playing it live to as you went into the studio with it?

        
        

        Speaker B

        00:08:22.940 - 00:08:48.439

        Not really. Like, some songs there'll be subtle changes that we'll learn that work better than others.

        
        

        Like, okay, we shouldn't do that, or we should trim that part down or make that part longer just for the sake of like, what worked on stage and what didn't. But.

        
        

        But overall there haven't been like these wild changes to songs for the sake of like, like, like, you know, between the first time we put it on stage and then by the time we.

        
        

        Speaker A

        00:08:48.439 - 00:08:54.559

        Recorded it, you've really, you've been on the road a ton. What kind of venues have really been a pleasant surprise for you in the recent past?

        
        

        Speaker B

        00:08:55.199 - 00:09:10.340

        We'll get to some cities and we, we won't really have any idea as to how many people will come out and they'll just be, you know, like, we put. When we played First Avenue in Minneapolis, I didn't really think that we would, we would, we should be playing that venue.

        
        

        But then it ended up...]]>3a3e65b0-28ee-4d34-a595-1e7bdfddb6beFri, 14 Nov 2025 02:02:00 -040018:13truefull12011201Country Fried Rock 1521: RayLand Baxter Unveils 'Imaginary Man'Summary

        In this episode from 2015, we sit down with singer-songwriter RayLand Baxter to talk about his upcoming album Imaginary Man, set to release on August 14 through ATO Records.

        Although he grew up in Nashville and is the son of a well-known songwriter, RayLand didn’t dive into music seriously until his twenties. He shares what led him there and how his path into songwriting unfolded a bit later than expected.

        We also talk about his evolution as an artist and some of the personal choices that shape his identity, including why he chose to capitalize the "L" in his name. It’s a small detail with real personal meaning behind it.

        RayLand walks us through the collaborative process behind Imaginary Man, and we get into the key moments and experiences that helped shape the sound of the new record.

        This episode gives a great look at RayLand Baxter’s creative journey, from finding his voice to crafting an album that captures where he is now as an artist.

        Show Notes

        In this episode, we catch up with RayLand Baxter to talk about his new album Imaginary Man, releasing soon on ATO Records.

        • RayLand comes from a strong musical background. His dad, Buddy Baxter, is a respected songwriter and studio owner. But surprisingly, RayLand didn’t start playing guitar until he was 20.
        • He shares what led him to pick up music later than most and how those early experiences shaped his voice as a songwriter.
        • We get into his creative process and the unique way he approaches his music, including the personal story behind the capital "L" in his name.
        • RayLand reflects on his connection to Nashville and how the city continues to influence his work, even as he carves out his own path.
        • Throughout the conversation, you’ll hear how authenticity, heritage, and a love for songwriting all come together in Imaginary Man.
        
        

        Links

        • RayLand Baxter
        • RayLand Baxter on Bandcamp
        • You may also enjoy our conversation with T Hardy Morris
        • After you buy music or see a show, please toss a few bucks in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Chapters

        • 00:01 - Introduction to Raelyn Baxter
        • 01:12 - The Journey Back to Music
        • 10:29 - The Release of Imaginary Man
        • 18:23 - A Journey Through Music and Heritage
        • 22:23 - The Journey of Imaginary Man
        
        

        Takeaways

        • RayLand talks about his new album Imaginary Man and how it reflects his growth as a songwriter and artist.
        • Growing up in Nashville with his dad, Buddy Baxter, in the music business definitely shaped his early connection to music, even if he didn’t dive in right away.
        • It wasn’t until he moved back to Nashville in his twenties that he seriously picked up the guitar and decided to chase music full-time.
        • Imaginary Man is a true team effort, with input from a range of talented musicians and producers who helped bring the album to life.
        • RayLand shares how important live shows are to him, especially the energy that comes from playing with other musicians and connecting with an audience.
        • The album cover is also part of the story. It represents a turning point in his creative journey and shows how much he’s evolved both personally and artistically.
        
        

        Mentioned in this Episode

        • ATO Records
        • Three Trees Music
        • Cage the Elephant
        • Chrome Pony
        • Drivin n Cryin
        
        

        Recommended If You Like

        RayLand Baxter, Imaginary Man, Country Fried Rock, Nashville songwriter, ATO Records, music podcast, acoustic guitar, songwriting process, Americana music, new album release, Nashville music scene, live music performance, indie music, music collaborations, Raelyn Baxter interview, music production, Americana Fest, Nashville musicians, songwriting evolution, musical influences

        Transcript

        Speaker A

        00:00:00.240 - 00:00:33.310

        Welcome to Country Fried Rock. This week we're talking with Raelyn Baxter, who has a brand new record, Imaginary man, on ATO Records.

        Although Baxter grew up in Nashville as the son of noted songwriter and studio owner Buddy Baxter, Raylan did not pick up a guitar until his early twenties.

        We find out about his songwriting growth and why he capitalizes the L in the middle of his name and a whole lot more with Raelyn Baxter on Country Fried Rock. I'm your host, Sloan Spencer. My guest today on Country Fried Rock is Raelyn Baxter with a new album, Imaginary man, coming on the 14th of August.

        Welcome.

        Speaker B

        00:00:33.870 - 00:00:34.350

        Hello.

        Speaker A

        00:00:34.510 - 00:00:39.310

        We've had a little chat had about locations and places across the way. How'd you end up in Nashville?

        Speaker B

        00:00:39.790 - 00:01:09.920

        Well, I was born here and I grew up here until I was 13. My dad was in the music business, my mom was not, but she loved my father at that time. And so this all started here.

        And When I was 13, I moved up to Maryland and then did my thing there and then moved back seven years ago. So Nashville's home. Nashville is my home. Even around the country. I'll be going around and be like, where are you from? I'm from Nashville.

        Well, where are you from?

        Speaker A

        00:01:10.079 - 00:01:10.480

        Right.

        Speaker B

        00:01:10.880 - 00:01:12.800

        I mean, I'm from Nashville, man.

        Speaker A

        00:01:12.880 - 00:01:19.200

        What made you end up heading back into the music business rather than trying to move away from that?

        Speaker B

        00:01:20.010 - 00:01:39.290

        Well, you know, I was never a part of it when I was growing up. My dad was, but I was, you know, just like a little sewer kid running around in the creeks and playing soccer and playing lacrosse and basketball.

        And so I was not. I didn't pick up a guitar until I was 20 years old.

        Speaker A

        00:01:39.370 - 00:01:40.250

        Oh, that's late.

        Speaker B

        00:01:40.410 - 00:02:12.490

        Yeah, very late. So once I picked up a guitar when I was 20, it had come at a time.

        I don't want to jump ahead in the interview, but I was playing lacrosse in college and I had torn my acl, my knee ligament. And then at the same time as I tore my acl, my dad was given an acoustic guitar in exchange for rent.

        My friend Luke Reynolds, who actually played on the album, he's played a bunch of guitar on the new album, gave my dad this guitar that Luke's dad had built him from a tree that fell down in their yard in Vermont.

        Speaker A

        00:02:12.570 - 00:02:13.130

        Wow.

        Speaker B

        00:02:13.130 - 00:02:19.160

        And it's a beautiful bird's eye maple acoustic guitar, dreadnought style. Kind of looks like a Martin.

        Speaker A

        00:02:19.480 - 00:02:19.960

        Wow.

        Speaker B

        00:02:20.440 - 00:02:34.920

        During Christmas break, I went down to stay with my dad. This is my sophomore year in college. And he was like, ray, take this guitar, man.

        See, you can't Walk that well, so you might as well learn how to play guitar. And so from then on, it was kind of. It was on.

        Speaker A

        00:02:35.160 - 00:02:36.440

        Did you end up going back to school?

        Speaker B

        00:02:37.160 - 00:02:58.230

        I did. I went back. I didn't graduate, but I went back and finished. Finished just shy six credits shy of my degree.

        And I was like, I really cannot stand living in Baltimore anymore. And I was like, I'm out of here. So I got in a car and I drove to Colorado. Still haven't finished my college degree.

        That's maybe something I'll take care of down the road at this point.

        Speaker A

        00:02:58.230 - 00:02:59.990

        Surely they can give you six credits of life.

        Speaker B

        00:02:59.990 - 00:03:13.720

        You know, I know I would love to call the dean of students who was my arch nemesis during college and be like, listen, I'm doing something with my degree. I'm using it. Although it's not official I'm using it.

        Speaker A

        00:03:13.880 - 00:03:19.480

        But, you know, the secret person you need to know in college is the registrar. That person has magic powers.

        Speaker B

        00:03:20.040 - 00:03:23.800

        Ah, maybe that's. I've been firing at the wrong target all these years.

        Speaker A

        00:03:23.880 - 00:03:25.200

        Are you up on the whole FIFA.

        Speaker B

        00:03:25.200 - 00:03:56.840

        Drama lately with the refs getting arrested and stuff? Yeah, I followed the sport only because they started playing it a bunch in the United States.

        Like, the way it went for me sports wise was I played soccer every day of the week all year until I was 13, until I moved to Maryland, and then I started playing lacrosse almost immediately. So I'm happy that it's becoming more popular in the United States.

        And I do think that it seems like a pretty corrupt situation, but I don't know who's going to fight him. Who's going to beat...]]>Summary

        In this episode from 2015, we sit down with singer-songwriter RayLand Baxter to talk about his upcoming album Imaginary Man, set to release on August 14 through ATO Records.

        Although he grew up in Nashville and is the son of a well-known songwriter, RayLand didn’t dive into music seriously until his twenties. He shares what led him there and how his path into songwriting unfolded a bit later than expected.

        We also talk about his evolution as an artist and some of the personal choices that shape his identity, including why he chose to capitalize the "L" in his name. It’s a small detail with real personal meaning behind it.

        RayLand walks us through the collaborative process behind Imaginary Man, and we get into the key moments and experiences that helped shape the sound of the new record.

        This episode gives a great look at RayLand Baxter’s creative journey, from finding his voice to crafting an album that captures where he is now as an artist.

        Show Notes

        In this episode, we catch up with RayLand Baxter to talk about his new album Imaginary Man, releasing soon on ATO Records.

        • RayLand comes from a strong musical background. His dad, Buddy Baxter, is a respected songwriter and studio owner. But surprisingly, RayLand didn’t start playing guitar until he was 20.
        • He shares what led him to pick up music later than most and how those early experiences shaped his voice as a songwriter.
        • We get into his creative process and the unique way he approaches his music, including the personal story behind the capital "L" in his name.
        • RayLand reflects on his connection to Nashville and how the city continues to influence his work, even as he carves out his own path.
        • Throughout the conversation, you’ll hear how authenticity, heritage, and a love for songwriting all come together in Imaginary Man.
        
        

        Links

        • RayLand Baxter
        • RayLand Baxter on Bandcamp
        • You may also enjoy our conversation with T Hardy Morris
        • After you buy music or see a show, please toss a few bucks in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Chapters

        • 00:01 - Introduction to Raelyn Baxter
        • 01:12 - The Journey Back to Music
        • 10:29 - The Release of Imaginary Man
        • 18:23 - A Journey Through Music and Heritage
        • 22:23 - The Journey of Imaginary Man
        
        

        Takeaways

        • RayLand talks about his new album Imaginary Man and how it reflects his growth as a songwriter and artist.
        • Growing up in Nashville with his dad, Buddy Baxter, in the music business definitely shaped his early connection to music, even if he didn’t dive in right away.
        • It wasn’t until he moved back to Nashville in his twenties that he seriously picked up the guitar and decided to chase music full-time.
        • Imaginary Man is a true team effort, with input from a range of talented musicians and producers who helped bring the album to life.
        • RayLand shares how important live shows are to him, especially the energy that comes from playing with other musicians and connecting with an audience.
        • The album cover is also part of the story. It represents a turning point in his creative journey and shows how much he’s evolved both personally and artistically.
        
        

        Mentioned in this Episode

        • ATO Records
        • Three Trees Music
        • Cage the Elephant
        • Chrome Pony
        • Drivin n Cryin
        
        

        Recommended If You Like

        RayLand Baxter, Imaginary Man, Country Fried Rock, Nashville songwriter, ATO Records, music podcast, acoustic guitar, songwriting process, Americana music, new album release, Nashville music scene, live music performance, indie music, music collaborations, Raelyn Baxter interview, music production, Americana Fest, Nashville musicians, songwriting evolution, musical influences

        Transcript

        Speaker A

        00:00:00.240 - 00:00:33.310

        Welcome to Country Fried Rock. This week we're talking with Raelyn Baxter, who has a brand new record, Imaginary man, on ATO Records.

        Although Baxter grew up in Nashville as the son of noted songwriter and studio owner Buddy Baxter, Raylan did not pick up a guitar until his early twenties.

        We find out about his songwriting growth and why he capitalizes the L in the middle of his name and a whole lot more with Raelyn Baxter on Country Fried Rock. I'm your host, Sloan Spencer. My guest today on Country Fried Rock is Raelyn Baxter with a new album, Imaginary man, coming on the 14th of August.

        Welcome.

        Speaker B

        00:00:33.870 - 00:00:34.350

        Hello.

        Speaker A

        00:00:34.510 - 00:00:39.310

        We've had a little chat had about locations and places across the way. How'd you end up in Nashville?

        Speaker B

        00:00:39.790 - 00:01:09.920

        Well, I was born here and I grew up here until I was 13. My dad was in the music business, my mom was not, but she loved my father at that time. And so this all started here.

        And When I was 13, I moved up to Maryland and then did my thing there and then moved back seven years ago. So Nashville's home. Nashville is my home. Even around the country. I'll be going around and be like, where are you from? I'm from Nashville.

        Well, where are you from?

        Speaker A

        00:01:10.079 - 00:01:10.480

        Right.

        Speaker B

        00:01:10.880 - 00:01:12.800

        I mean, I'm from Nashville, man.

        Speaker A

        00:01:12.880 - 00:01:19.200

        What made you end up heading back into the music business rather than trying to move away from that?

        Speaker B

        00:01:20.010 - 00:01:39.290

        Well, you know, I was never a part of it when I was growing up. My dad was, but I was, you know, just like a little sewer kid running around in the creeks and playing soccer and playing lacrosse and basketball.

        And so I was not. I didn't pick up a guitar until I was 20 years old.

        Speaker A

        00:01:39.370 - 00:01:40.250

        Oh, that's late.

        Speaker B

        00:01:40.410 - 00:02:12.490

        Yeah, very late. So once I picked up a guitar when I was 20, it had come at a time.

        I don't want to jump ahead in the interview, but I was playing lacrosse in college and I had torn my acl, my knee ligament. And then at the same time as I tore my acl, my dad was given an acoustic guitar in exchange for rent.

        My friend Luke Reynolds, who actually played on the album, he's played a bunch of guitar on the new album, gave my dad this guitar that Luke's dad had built him from a tree that fell down in their yard in Vermont.

        Speaker A

        00:02:12.570 - 00:02:13.130

        Wow.

        Speaker B

        00:02:13.130 - 00:02:19.160

        And it's a beautiful bird's eye maple acoustic guitar, dreadnought style. Kind of looks like a Martin.

        Speaker A

        00:02:19.480 - 00:02:19.960

        Wow.

        Speaker B

        00:02:20.440 - 00:02:34.920

        During Christmas break, I went down to stay with my dad. This is my sophomore year in college. And he was like, ray, take this guitar, man.

        See, you can't Walk that well, so you might as well learn how to play guitar. And so from then on, it was kind of. It was on.

        Speaker A

        00:02:35.160 - 00:02:36.440

        Did you end up going back to school?

        Speaker B

        00:02:37.160 - 00:02:58.230

        I did. I went back. I didn't graduate, but I went back and finished. Finished just shy six credits shy of my degree.

        And I was like, I really cannot stand living in Baltimore anymore. And I was like, I'm out of here. So I got in a car and I drove to Colorado. Still haven't finished my college degree.

        That's maybe something I'll take care of down the road at this point.

        Speaker A

        00:02:58.230 - 00:02:59.990

        Surely they can give you six credits of life.

        Speaker B

        00:02:59.990 - 00:03:13.720

        You know, I know I would love to call the dean of students who was my arch nemesis during college and be like, listen, I'm doing something with my degree. I'm using it. Although it's not official I'm using it.

        Speaker A

        00:03:13.880 - 00:03:19.480

        But, you know, the secret person you need to know in college is the registrar. That person has magic powers.

        Speaker B

        00:03:20.040 - 00:03:23.800

        Ah, maybe that's. I've been firing at the wrong target all these years.

        Speaker A

        00:03:23.880 - 00:03:25.200

        Are you up on the whole FIFA.

        Speaker B

        00:03:25.200 - 00:03:56.840

        Drama lately with the refs getting arrested and stuff? Yeah, I followed the sport only because they started playing it a bunch in the United States.

        Like, the way it went for me sports wise was I played soccer every day of the week all year until I was 13, until I moved to Maryland, and then I started playing lacrosse almost immediately. So I'm happy that it's becoming more popular in the United States.

        And I do think that it seems like a pretty corrupt situation, but I don't know who's going to fight him. Who's going to beat the beast?

        Speaker A

        00:03:57.320 - 00:04:01.320

        Just curious. I've been surprised by the passionate feelings folks have had about that.

        Speaker B

        00:04:01.680 - 00:04:06.680

        Well, you know who is passionate is Eric Massey, who is the co producer on this on Imaginary Man.

        Speaker A

        00:04:06.680 - 00:04:07.240

        Oh, yeah.

        Speaker B

        00:04:07.240 - 00:04:15.760

        He's a crazy soccer fool and he loves it. And he. If he was next to me, he'd take the phone, he'd be like, actually, yes. And then he'll tell you all about it.

        Speaker A

        00:04:16.560 - 00:04:49.340

        Keep your ears open for some fun things going on with Country Fried Rock in the next few months. We're going to have a new way for y' all to submit some music to the show for a fall feature.

        And we'll be hanging out and having a party in Nashville during Americana Fest. Yep, it's official, but I can't give you the detail details just yet. Hey, y', all, this is Sloan Spencer, the host of Country Fried Rock.

        We've had an incredible year with more people finding us on the radio and our podcast than we ever imagined. Thank you all so much. Careful what you wish for. You just might get it.

        Speaker B

        00:04:49.500 - 00:04:53.100

        Hello, this is Raelyn Baxter on Country Fried Rock.

        Speaker A

        00:04:53.180 - 00:05:05.620

        That's a great segue because you worked with Adam Landry as well, who is somehow becoming the unintended theme of this year's show. Probably awesome. More than half the records we've covered this year have been touched by Adam Landry.

        Speaker B

        00:05:05.940 - 00:06:03.350

        He's the man. So I've known Adam since I was a sophomore in college. He used to.

        My dad had a studio called Three Trees Music out in White's Creek, Tennessee, and it was a beautiful studio built of a bunch of old buildings from the Opryland Amusement park that shut down a while ago, and he built a beautiful studio. And Adam had just moved to Nashville from Maine, and he was playing guitar with Ray Lamontagne, and he was doing all these cool things.

        And I met Adam, and he was a rock star to me, you know, he still is actually, more so than ever. And so when it came around to looking for producers, we had a couple names in the bucket, but Adam kept on coming around. Adam is rad.

        He's a great guitar player. He knows when a song has good movement and good feel to it, and it was really a joy working with him, and I hope to work more with him in the future.

        Speaker A

        00:06:03.670 - 00:06:06.550

        What was different for you this time around versus previous releases?

        Speaker B

        00:06:07.030 - 00:07:45.550

        Feathers and Fish Hooks was like, you know, I started playing guitar when I was 20, and it's really late, so I did in three years, really, what most people who planned ahead and found their gift, or passion, whatever you want to call it, in their teens. I did 15 years of work in three years. So feathers and Fish Hooks was like, how do you do this? Okay. Oh, you have to sit that way against the mic.

        You know, in terms of recording. Oh, I have to sit, and I have to sing into that part of the mic. Oh, I was singing into the wrong end of the mic. All these things.

        I didn't know what I was doing, and luckily, I was the dumbest person in the room. So Feathers and Fish Hooks. It came out great, but it was very. It was my rookie attempt.

        And so then I've had a few years in between to figure out to write a bunch more songs, to spend a lot more time, pretty much every waking hour, thinking about cool melodies and lyrics and observing what's around me at all times, and how can I use this to express an emotion and how can I put this into a song? And so imaginary man came out this group of songs.

        We started recording, and we all kind of knew a little bit more what we were going to be doing in the studio. And we had something to look back on.

        I would just sit in the vocal booth with my guitar and look into the control room, and whenever I saw Eric and Adam kind of bobbin. Adam would stand up. Eric would be sitting because he recorded it all as well.

        Eric would be sitting, and Adam, when Adam started kind of like, pacing, it was like, all right, we're onto something. We're onto something. Then that was my meter to be like, okay, we got this. Let's work on this idea. That's that.

        Speaker A

        00:07:45.710 - 00:07:48.190

        So were a lot of the songs developed in the studio that way?

        Speaker B

        00:07:48.850 - 00:08:22.480

        I came to the studio with all the lyrics and, for the most part, chord structures and everything like that. And then, yeah, we were just like, let's find a groove. And so we started track one of the album.

        Mr. Rodriguez, is the first song that we tracked, and that kind of set the tone for the rest of the tunes. Really grooving. Yeah. They just kind of fell together.

        It was not effortless, but it was a bit of effortlessness and then a bit of precise decision making.

        Speaker A

        00:08:23.040 - 00:08:29.840

        You also were able to bring in some friends and colleagues to support some of this. Tell me about the other folks who collaborate to make this record happen.

        Speaker B

        00:08:30.720 - 00:09:20.120

        So we'll start with the band. Chip Kilpatrick played drums, and Matt Roland played the keyboards. Eli Beard played bass. These are all Southern boys. Eli is from Nashville.

        Chip is from Birmingham. Matt is from Arkansas. All of these guys kind of live in Nashville. And then Jeffy Balin came and sang on some of the record. She lives in Nashville.

        Mickey Echo is a Nashvillian. All these are friends. They're just friends.

        And then Matt Vasquez, who I had not met before, him showing up to the studio, but he and Adam are really good friends. And Adam was like, matt will sound really good with your voice. So Matt came in, and we all hung out for a few days, and he sang a bunch.

        And now Matt and I have become friends, and I'll see him in Austin when I go down there.

        Speaker A

        00:09:20.200 - 00:09:20.680

        Cool.

        Speaker B

        00:09:20.920 - 00:09:41.490

        Isaac Bird, who used to be in a band called the Bridges, a family band, and she sang on Feathers and Fishhooks as well. And so we brought her back in. She's singing on youn Love. I think that's the only track she sings on. Track? Yeah, it was just a nice family effort.

        Everybody was behind the songs, and I called them, and they're like, yeah, I'd love to.

        Speaker A

        00:09:41.810 - 00:10:28.830

        Hey, y'. All. This is Sloan Spencer, the host of Country Fried Rock. Those of y' all who listen on our podcasts, it's a quick hit of just the conversation.

        If you want the full radio program with all the songs that we talk about, ask for it on your local radio station, joining 20 other stations across the country.

        Get the goods@countryfriedrock.org we'd like to send a big thank you to our Country Fried Rock listeners for supporting Country Fried Rock alum Alan Thompson, who is recovering from a diving accident.

        If you'd like to donate, every dollar matters and it goes directly to helping defray his bills, you can find that link on Country Fried Rocks, Facebook or Twitter. It's a you caring donation page. Keep your ears peeled for a few different benefit shows in the Nashville area for Alan Thompson. We love you, man.

        Get better soon.

        Speaker B

        00:10:29.070 - 00:11:30.580

        The title of the new record is Imaginary man, and you can get yourself a copy at your local record store, my website, raylonbaxter.com or come see us at a live show and come say hi to me at the merch table and I'll sell you one myself. And if you're broke, I'll give it to you.

        We finished the album in November of last year, so I did a tour in March as a trio with the drummer and the keyboard player, and we played Mother Mother a couple of songs. The tour that I do in Europe, I'll be playing solo. So all the songs.

        This is the cool thing about a song is, you know, they can be translated in a different. All different forms. So I'll play a bunch of new songs in the solo form, and they're completely different than the record. Not completely.

        The melodies are still there and obviously the lyrics don't change. But I'm a fan of presenting the songs in five different forms if I can, just to keep it exciting for me.

        Speaker A

        00:11:30.580 - 00:11:33.620

        You mentioned a little bit about Austin. Is that Austin City Elements Fest?

        Speaker B

        00:11:34.100 - 00:11:55.460

        Yeah. Sweet. That's going to be a lot of fun. Maybe Matt will come sing with us.

        My buddy Shaky Graves, who I toured with last year, him and I have become really good friends. He's kind of one of my favorite guys out there making music right now. He's going to be around.

        He might show up, but I've never played acl, so I'm looking forward to it. I love playing music in Austin, Texas.

        Speaker A

        00:11:55.740 - 00:12:05.020

        On these solo tours. Are you solely touring alone or are you also pairing up with, like, buddy bands or other songwriters to share bills?

        Speaker B

        00:12:06.060 - 00:12:34.750

        Sometimes I'll Borrow some bandmates from other bands. Usually if I'm an opening act as a solo, I'll just keep it solo because I like having the stage to myself.

        I can get through a set between an acoustic and an electric guitar. I can do sometimes more than a full band can do. You know, just in terms of the presentation, I don't ever plan ahead for stuff like that.

        But if some people are in town or who knows, you know, it's like, are you available? Cool, let's jam. Or. No, I got this.

        Speaker A

        00:12:34.830 - 00:12:45.550

        You're in...]]>82925c82-9e0c-4935-b9e8-0af3f5c8dbf0Fri, 07 Nov 2025 02:02:00 -040024:01truefull15211521Country Fried Rock 1520: T. Hardy Morris Buries Dead Confederate and Goes SoloSummary

        In this episode from 2015, we sit down with T. Hardy Morris, best known as the frontman of Dead Confederate, to talk about how his music has evolved and what went into making his latest album, Drowning on a Mountaintop.

        Hardy opens up about the creative process behind the record, including how he’s been experimenting with different sounds, like blending pedal steel into a rock setting, and how that’s shaped the feel of the album.

        We also talk about the collaborative nature of his work. He shares stories from his time with the supergroup Diamond Rugs and reflects on the strong musical relationships he’s built over the years.

        Throughout the conversation, Hardy gets into how his lyrics and music come together, usually in a pretty natural, unforced way. His songwriting leans into both his country roots and the raw edge of grunge, and Drowning on a Mountaintop really shows that mix.

        If you're curious about how genre lines blur, or how an artist stays grounded while constantly growing, this episode gives a great look into Hardy’s creative world.

        Show Notes

        In this episode, we catch up with T. Hardy Morris to talk about his latest solo album, Drowning on a Mountaintop, and the path that’s led him here.

        • Hardy, known for his work with Dead Confederate and the supergroup Diamond Rugs, shares stories from his early days growing up in Augusta, Georgia. Those early community experiences helped shape his creative outlook.
        • We talk about how his sound has evolved over time, landing in a space that blends rock and country in a way that feels both fresh and familiar.
        • The conversation takes a closer look at the making of Drowning on a Mountaintop, including how working with producer Adam Landry helped shape the album’s tone and texture.
        • Hardy opens up about his songwriting process, especially how lyrics and music come together naturally for him, with an emphasis on honesty and emotional impact.
        • Whether you’re a longtime fan or just discovering his solo work, this episode offers a real look into Hardy’s creative world and what drives him as an artist.
        
        

        Links

        • T Hardy Morris
        • T Hardy Morris on Bandcamp
        • You may also enjoy our conversation with Folk Family Revival
        • After you buy music or see a show, we'd love your support with a few bucks in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Chapters

        • 00:08 - Introducing T. Hardy Morris and His New Album
        • 03:03 - The Evolution of Sound: Collaborating with Adam Landry
        • 08:25 - Exploring the Intersection of Country and Grunge
        • 12:57 - New Connections in Music
        • 14:29 - Transition to New Music Ventures
        
        

        Takeaways

        • Hardy talks about his new album, Drowning on a Mountaintop, which brings together a mix of rock and country influences in a way that feels fresh but grounded in tradition.
        • He shares how his songwriting tends to evolve naturally, and how experimenting with pedal steel helped shape the album’s sound.
        • Collaboration plays a big role in his creative process. Hardy talks about working with other artists and especially highlights the impact producer Adam Landry had on this project.
        • There's an interesting conversation about the link between grunge and southern rock. Hardy points out that both genres have a rural quality that people don’t always recognize.
        • He gives a quick update on what's next, including touring plans and some recording time with Dead Confederate. The band isn’t done yet, just taking things slow.
        • The episode wraps up with a real talk about how tough it can be to connect with audiences in today’s crowded music world. Hardy reflects on the challenges of staying visible without losing authenticity.
        
        

        Mentioned in this Episode

        • Danger Bird Records
        • Diamond Rugs
        • Dead Confederate
        • Reverb Nation
        • Drive By Trucker
        • Meat Puppets
        • Justin Collins
        • Delta Spirit
        • Deer Tick
        • Chase Park
        
        

        Recommended If You Like

        Country Fried Rock, T. Hardy Morris interview, Dead Confederate, Diamond Rugs supergroup, Drowning on a Mountaintop album, Danger Bird Records, indie rock podcast, southern rock music, pedal steel guitar, songwriting process, Americana music, music collaborations, grunge and country fusion, Athens music scene, music production, lyrical songwriting, vinyl records, music industry insights, emerging artists, country music podcasts

        Transcript

        Speaker A

        00:00:00.160 - 00:00:23.360

        Welcome to Country Fried Rock. This week we're talking with T. Hardy Morris, frontman for Dead Confederate, as well as part of the Diamond Rugs indie rock supergroup.

        Morris is also known for his solo work with a brand new album out from T. Hardy Morris and the hard knocks called Drowning on a Mountaintop, out now on Danger Bird Records. You're listening to Country Fried Rock and I'm your host, Sloane Spencer.

        Speaker B

        00:00:23.360 - 00:00:24.400

        Where are you now?

        Speaker C

        00:00:24.640 - 00:00:25.760

        I still live in essence.

        Speaker B

        00:00:25.760 - 00:00:27.440

        But you're originally from Augusta.

        Speaker C

        00:00:27.780 - 00:00:38.180

        Yep, that's where I was born and raised. Down. Down. Well, just outside of Augusta.

        But yeah, essentially we used to float the river and we would moon everybody as they went across the icewinning bridge.

        Speaker B

        00:00:38.340 - 00:00:45.780

        You're a pretty busy guy with not just solo projects, but some band things as well. What has led to this most recent album that just came out?

        Speaker C

        00:00:46.180 - 00:01:29.240

        Kind of a natural progression of things. I'd made a solo record a couple years ago and kind of did a little more slowed down acoustic. Yeah. Songs that I had. And I just. I don't know.

        My friend Matt Stoessel, who plays pedal steel, we had kind of explored a little bit.

        I'm a big fan of the pedal steel and the way it works within songs and I just wasn't quite through exploring the pedal steel and the ways it could work within the songs that I write. So we took it a step further and kind of did more of a rock and roll version. You know, just see what came about.

        And down on the mountaintops where we wound up kind of bummed our Dead Confederate drummer. And so that took it to a place where it had to be a little more heavy handed and it was a lot of fun.

        Speaker B

        00:01:29.320 - 00:01:37.080

        I noticed in the background we are unintentionally having an Adam Landry year on Country Fried Rock. Was your connection to him via Diamond Rugs?

        Speaker C

        00:01:37.640 - 00:02:27.260

        Yes, exactly. First met Adam when we.

        When we did the first Diamond Rugs record, we just kind of spoke the same language in the way we learned, like to create music and just recordings in general. Just kind of the same ethos as far as recording and just kind of letting it happen.

        And he's got a good ear to kind of help us sift through the songs, you know, because I'll come in with a lot of stuff, a lot of ideas and we kind of can focus on certain ones and he's just easy to work with for me and the way I like to work. This one we did actually in Athens.

        We wound up mixing a little bit over at his place in Nashville, but we recorded it here At a studio called Chase Park. Had a lot of good records come out. I was expecting my daughter essentially any day, so we kind of had to. Had to record it here. Proximity.

        Speaker B

        00:02:27.500 - 00:02:28.540

        Congratulations.

        Speaker C

        00:02:29.100 - 00:02:44.240

        Thanks. I've done a little bit of touring since she came. You know, even that had to slow down a good bit. You know, shoot out and do a few and come home.

        Nothing too extensive. There's a lot of dates, but it's. You know, they're not all just back to back, three months at a time or whatever like I used to do.

        Speaker B

        00:02:44.480 - 00:02:48.080

        With so many different projects going on, how do you filter songs?

        Speaker C

        00:02:48.800 - 00:03:01.600

        Usually I just kind of know right off the bat. It just has the feel of where it should wind up. Every once in a while, they'll cross paths, but for the most part, it's all in my head.

        I don't really know how to explain it, but I can just kind of tell where it needs to wind up.

        Speaker B

        00:03:01.680 - 00:03:03.560

        We were saying originally there's some changes.

        Speaker A

        00:03:03.560 - 00:03:05.880

        From the sound of audition tapes to.

        Speaker B

        00:03:05.880 - 00:03:15.080

        This record with Drowning on a Mountaintop. And it's not just instrumentation. How do those come about for you? You kind of hinted that perhaps they developed a bit with Adam Landry.

        Speaker C

        00:03:15.480 -...]]>Summary

        In this episode from 2015, we sit down with T. Hardy Morris, best known as the frontman of Dead Confederate, to talk about how his music has evolved and what went into making his latest album, Drowning on a Mountaintop.

        Hardy opens up about the creative process behind the record, including how he’s been experimenting with different sounds, like blending pedal steel into a rock setting, and how that’s shaped the feel of the album.

        We also talk about the collaborative nature of his work. He shares stories from his time with the supergroup Diamond Rugs and reflects on the strong musical relationships he’s built over the years.

        Throughout the conversation, Hardy gets into how his lyrics and music come together, usually in a pretty natural, unforced way. His songwriting leans into both his country roots and the raw edge of grunge, and Drowning on a Mountaintop really shows that mix.

        If you're curious about how genre lines blur, or how an artist stays grounded while constantly growing, this episode gives a great look into Hardy’s creative world.

        Show Notes

        In this episode, we catch up with T. Hardy Morris to talk about his latest solo album, Drowning on a Mountaintop, and the path that’s led him here.

        • Hardy, known for his work with Dead Confederate and the supergroup Diamond Rugs, shares stories from his early days growing up in Augusta, Georgia. Those early community experiences helped shape his creative outlook.
        • We talk about how his sound has evolved over time, landing in a space that blends rock and country in a way that feels both fresh and familiar.
        • The conversation takes a closer look at the making of Drowning on a Mountaintop, including how working with producer Adam Landry helped shape the album’s tone and texture.
        • Hardy opens up about his songwriting process, especially how lyrics and music come together naturally for him, with an emphasis on honesty and emotional impact.
        • Whether you’re a longtime fan or just discovering his solo work, this episode offers a real look into Hardy’s creative world and what drives him as an artist.
        
        

        Links

        • T Hardy Morris
        • T Hardy Morris on Bandcamp
        • You may also enjoy our conversation with Folk Family Revival
        • After you buy music or see a show, we'd love your support with a few bucks in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Chapters

        • 00:08 - Introducing T. Hardy Morris and His New Album
        • 03:03 - The Evolution of Sound: Collaborating with Adam Landry
        • 08:25 - Exploring the Intersection of Country and Grunge
        • 12:57 - New Connections in Music
        • 14:29 - Transition to New Music Ventures
        
        

        Takeaways

        • Hardy talks about his new album, Drowning on a Mountaintop, which brings together a mix of rock and country influences in a way that feels fresh but grounded in tradition.
        • He shares how his songwriting tends to evolve naturally, and how experimenting with pedal steel helped shape the album’s sound.
        • Collaboration plays a big role in his creative process. Hardy talks about working with other artists and especially highlights the impact producer Adam Landry had on this project.
        • There's an interesting conversation about the link between grunge and southern rock. Hardy points out that both genres have a rural quality that people don’t always recognize.
        • He gives a quick update on what's next, including touring plans and some recording time with Dead Confederate. The band isn’t done yet, just taking things slow.
        • The episode wraps up with a real talk about how tough it can be to connect with audiences in today’s crowded music world. Hardy reflects on the challenges of staying visible without losing authenticity.
        
        

        Mentioned in this Episode

        • Danger Bird Records
        • Diamond Rugs
        • Dead Confederate
        • Reverb Nation
        • Drive By Trucker
        • Meat Puppets
        • Justin Collins
        • Delta Spirit
        • Deer Tick
        • Chase Park
        
        

        Recommended If You Like

        Country Fried Rock, T. Hardy Morris interview, Dead Confederate, Diamond Rugs supergroup, Drowning on a Mountaintop album, Danger Bird Records, indie rock podcast, southern rock music, pedal steel guitar, songwriting process, Americana music, music collaborations, grunge and country fusion, Athens music scene, music production, lyrical songwriting, vinyl records, music industry insights, emerging artists, country music podcasts

        Transcript

        Speaker A

        00:00:00.160 - 00:00:23.360

        Welcome to Country Fried Rock. This week we're talking with T. Hardy Morris, frontman for Dead Confederate, as well as part of the Diamond Rugs indie rock supergroup.

        Morris is also known for his solo work with a brand new album out from T. Hardy Morris and the hard knocks called Drowning on a Mountaintop, out now on Danger Bird Records. You're listening to Country Fried Rock and I'm your host, Sloane Spencer.

        Speaker B

        00:00:23.360 - 00:00:24.400

        Where are you now?

        Speaker C

        00:00:24.640 - 00:00:25.760

        I still live in essence.

        Speaker B

        00:00:25.760 - 00:00:27.440

        But you're originally from Augusta.

        Speaker C

        00:00:27.780 - 00:00:38.180

        Yep, that's where I was born and raised. Down. Down. Well, just outside of Augusta.

        But yeah, essentially we used to float the river and we would moon everybody as they went across the icewinning bridge.

        Speaker B

        00:00:38.340 - 00:00:45.780

        You're a pretty busy guy with not just solo projects, but some band things as well. What has led to this most recent album that just came out?

        Speaker C

        00:00:46.180 - 00:01:29.240

        Kind of a natural progression of things. I'd made a solo record a couple years ago and kind of did a little more slowed down acoustic. Yeah. Songs that I had. And I just. I don't know.

        My friend Matt Stoessel, who plays pedal steel, we had kind of explored a little bit.

        I'm a big fan of the pedal steel and the way it works within songs and I just wasn't quite through exploring the pedal steel and the ways it could work within the songs that I write. So we took it a step further and kind of did more of a rock and roll version. You know, just see what came about.

        And down on the mountaintops where we wound up kind of bummed our Dead Confederate drummer. And so that took it to a place where it had to be a little more heavy handed and it was a lot of fun.

        Speaker B

        00:01:29.320 - 00:01:37.080

        I noticed in the background we are unintentionally having an Adam Landry year on Country Fried Rock. Was your connection to him via Diamond Rugs?

        Speaker C

        00:01:37.640 - 00:02:27.260

        Yes, exactly. First met Adam when we.

        When we did the first Diamond Rugs record, we just kind of spoke the same language in the way we learned, like to create music and just recordings in general. Just kind of the same ethos as far as recording and just kind of letting it happen.

        And he's got a good ear to kind of help us sift through the songs, you know, because I'll come in with a lot of stuff, a lot of ideas and we kind of can focus on certain ones and he's just easy to work with for me and the way I like to work. This one we did actually in Athens.

        We wound up mixing a little bit over at his place in Nashville, but we recorded it here At a studio called Chase Park. Had a lot of good records come out. I was expecting my daughter essentially any day, so we kind of had to. Had to record it here. Proximity.

        Speaker B

        00:02:27.500 - 00:02:28.540

        Congratulations.

        Speaker C

        00:02:29.100 - 00:02:44.240

        Thanks. I've done a little bit of touring since she came. You know, even that had to slow down a good bit. You know, shoot out and do a few and come home.

        Nothing too extensive. There's a lot of dates, but it's. You know, they're not all just back to back, three months at a time or whatever like I used to do.

        Speaker B

        00:02:44.480 - 00:02:48.080

        With so many different projects going on, how do you filter songs?

        Speaker C

        00:02:48.800 - 00:03:01.600

        Usually I just kind of know right off the bat. It just has the feel of where it should wind up. Every once in a while, they'll cross paths, but for the most part, it's all in my head.

        I don't really know how to explain it, but I can just kind of tell where it needs to wind up.

        Speaker B

        00:03:01.680 - 00:03:03.560

        We were saying originally there's some changes.

        Speaker A

        00:03:03.560 - 00:03:05.880

        From the sound of audition tapes to.

        Speaker B

        00:03:05.880 - 00:03:15.080

        This record with Drowning on a Mountaintop. And it's not just instrumentation. How do those come about for you? You kind of hinted that perhaps they developed a bit with Adam Landry.

        Speaker C

        00:03:15.480 - 00:04:19.240

        We had done.

        When we did the first Diamond Ruggs record, there was a song called Country Mile that kind of had this heavier verse, kind of stone and rock verse, and then it veered off, and the chorus was country. I called it the country part.

        And then there was another song called Share the Needle on audition tapes that kind of had that same push and pull between the verse and chorus. And Adam and I were just. We were talking after. After a show one night.

        We were kind of like, what do a whole record that's like that, you know, that has that. That kind of push and pull throughout it and kind of really exploit that idea. Because a lot of people seemed really drawn to those songs.

        You know, they didn't seem as crazy to me, but other people were like, oh, that's crazy how that happened, you know, And I was like, oh, well, people seem to like that. Let's just try to go for it. So, yeah, just kind of went with that idea. I mean, we don't. It's not. Doesn't happen on. On every single song.

        And we didn't try to force it. It kind of works for the way I write the stuff I like and for my vibe. I think it worked out pretty good.

        Speaker A

        00:04:19.240 - 00:04:19.640

        Hey, y'.

        Speaker C

        00:04:19.640 - 00:04:19.720

        All.

        Speaker A

        00:04:19.720 - 00:04:58.700

        This is Sloan Spencer, the host of Country Fried Rock. We've had an incredible year with more people finding us on the radio. And our podcast than we ever imagined. Thank you all so much.

        Careful what you wish for.

        You just might like to send a big thank you to our Country Fried Rock listeners for supporting Country Fried Rock alum Alan Thompson, who is recovering from a diving accident.

        If you'd like to donate Every Dollar Matters and it goes directly to helping defray his bills, you can find that link on Country Fried Rock's Facebook or Twitter. It's a you caring donation page. Keep your ears peeled for a few different benefit shows in the Nashville area for Alan Thompson.

        Speaker B

        00:04:58.700 - 00:04:59.540

        We love you, man.

        Speaker A

        00:04:59.540 - 00:05:00.460

        Get better soon.

        Speaker C

        00:05:00.770 - 00:05:03.410

        Hey, this is Pete Hardy Morris on Country Frad Rock.

        Speaker B

        00:05:03.410 - 00:05:10.050

        You can listen to this record and miss some of what you're saying, and then you hear it, like the third or fourth time, you're like, holy cow.

        Speaker A

        00:05:10.050 - 00:05:11.170

        That'S a great line.

        Speaker B

        00:05:11.730 - 00:05:14.210

        A lyrical versus music contrast as well.

        Speaker C

        00:05:14.930 - 00:05:43.380

        Lyrically, the album, a lot of it is. I don't know, I write a lot of stuff pretty quickly when I'm writing the lyrics. So a lot of times I don't even.

        I don't know exactly what I said until after I hear it back, and I'm like, oh, that was kind of pointed or whatnot. But yeah, and especially that. That stuff happened.

        That album happened kind of fast, the writing of it, because I went in with a lot of ideas lyrically. Yeah. Song by song and just kind of finishing them on the fly. Some of them were.

        Speaker B

        00:05:43.380 - 00:05:45.900

        They always fleshed out before you got into Chase Park.

        Speaker C

        00:05:46.540 - 00:06:14.500

        Pretty close. I mean, I was still writing some lyrics as we got into Chase park, but I think that's fine. That that works for me. Just kind of the way my brain is.

        I've always been a little add, so I don't know. And sometimes. And I don't think that a lot of those lines you're speaking of or I'm talking about would really come about.

        If I sat down alone with my pen and, you know, tried to labor over it. It might sound a little labored or might sound a little dramatic. You just speak what's on your mind. Sometimes it makes more sense.

        Speaker B

        00:06:14.660 - 00:06:17.380

        Was there some time between completion and release?

        Speaker C

        00:06:18.260 - 00:06:52.000

        Yeah, there was. There was a little bit, I guess.

        We were done recording a year ago, and then we spent a little bit of time mixing it kind of sat for a little bit while the baby was born, and then I was home doing that whole thing, learning how to change diapers and all that stuff.

        And then we got around to mixing, and that even took a little bit longer because we wound up going back over to Adams and doing a couple things just because we had to mix it so fast. Everybody just was busy. We mixed it and then we had a couple more things we wanted to do, so we fixed those over in Nashville and then finally done.

        Speaker B

        00:06:52.000 - 00:06:53.660

        Who else else was able to help.

        Speaker A

        00:06:53.660 - 00:06:55.300

        You fill out the sound you wanted?

        Speaker C

        00:06:56.180 - 00:07:15.460

        Vaughn Lamb is who plays bass on the record and plays bass in the Hard Knocks. He's a local Athens bass player. He's played with, you know, a lot of bands around here, but I just like his style and vibes.

        He's kind of got this noodley hippie punk thing going on that I like. Kind of fits what we're doing.

        Speaker A

        00:07:15.460 - 00:08:00.670

        Hey y', all, this is Sloane Spencer, the host of Country Fried Rock. Those of y' all who listen on our podcasts, it's a quick hit of just the conversation.

        If you want the full radio program with all the songs that we talk about, ask for it on your local radio station, joining 20 other stations across the country. Get the goods@country friedrock.org hey y', all, Country Fried Rock has a few cool new things going on that we've been teasing for a while.

        Pop on by countryfriedrock.com scroll down on the right hand side of the screen or just keep on scrolling if you're on mobile. Down at the bottom, we're doing a quick listener survey. Find out a little more about what y' all want as we plan now for 2016.

        I know it seems so far away, but actually we've already got a very cool thing up our sleeves that will be happening while I'm in Nashville next month.

        Speaker B

        00:08:00.750 - 00:08:01.070

        So.

        Speaker A

        00:08:01.070 - 00:08:10.190

        Looking forward to that. Speaking of which, lots of Country Fried Rock alums are going to be playing Americana Fest in September and we'll be hanging out that week.

        Come on by and say hello.

        Speaker C

        00:08:10.830 - 00:08:13.630

        Hey, this is T. Hardy Morris. Get more info at T.

        Speaker B

        00:08:15.880 - 00:08:21.800

        What kind of stuff was speaking to you? Because there's, you can hear a lot of different things going on in the different songs on this record.

        Speaker A

        00:08:21.880 - 00:08:22.680

        Specifically.

        Speaker B

        00:08:22.760 - 00:08:24.600

        I got a little Nirvana on some of it.

        Speaker C

        00:08:25.240 - 00:09:51.110

        Oh yeah, that was one of the things I was trying to convey with the record is, you know, you don't really think of, of like country music or, or Southern rock and grunge really sitting hand in hand. But to me, they're, they're not that really that far off. They're both kind of come from a rural sounding place to me.

        You know, I don't know, just sounds like what I, that's what I grew up on. But I think they're a little Closer fit than a lot of people give them credit for. Especially like southern rock and grunge music.

        What the real early versions of grunge music, you know, those are.

        A lot of those bands were from out in the middle of nowhere, you know, kind of coming up with these ideas in the garage and southern rock with, you know, just these wood shedding out in the middle of nowhere in the. In the South. I don't know, they're just both kind of rural.

        So I thought that the pedal steel and that country sound works a little better than you might think with the heavy handed side of grunge. Yeah, the Meat Puppets kind of. Kind of did that. They always had had a country vibe going on, kind of country punk. So there's definitely. And I've.

        I've toured with those guys before and we've talked music a good bit. They're kind of buddies and I mean it's a little. A lot of the albums are a little more heavy handed than Meat Puppets. But I kind of.

        They're often a band that I kind of have a touchstone in the studio that I kind of. When I hear Becca's song, I'm like, I wonder if Kurt and Chris would like this song. I'm like, yeah, I think they would.

        Speaker B

        00:09:51.110 - 00:09:54.510

        There's a particular song I want to ask about. Who is the other voice on?

        Speaker A

        00:09:54.510 - 00:09:56.070

        It's either quiet or quieter.

        Speaker C

        00:09:56.630 - 00:10:13.290

        That's Justin. Who? Justin Collins, who's was the other producer on the record. Justin co produces a lot of stuff with Adam.

        He did audition tapes and the Diamond Rug stuff. He's also a musician, singer, songwriter over in Nashville. His stuff's awesome. It's really good.

        Speaker B

        00:10:13.610 - 00:10:16.730

        How have some of those relationships come around for who you get to go on tour with?

        Speaker C

        00:10:17.130 - 00:10:57.760

        Well, you know, I've known the Drive By Trucker guys for a long time. From Day Confederate touring with them. They took us to the west coast. The first time we ever toured on the west coast.

        We just always have kept in touch. Patterson and I specifically. He's been kind of a good proponent of my stuff, solo stuff and decofederate and so yeah, it's just.

        I don't know, I feel like we're the band that when they just have to go do some one off shows, they're always like, hey, you want to come play? That's just local connection. You know, they.

        They live here...]]>7d6d0953-a599-485e-a5cc-ec0e03de09e3Fri, 07 Nov 2025 02:02:00 -040018:05truefull15201520Country Fried Rock 1517: Mason Lankford of Folk Family Revival Summer Tour InsightsSummary

        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...]]>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]]>0d35263e-fa60-4d08-a7af-5b23dbc238e3Fri, 31 Oct 2025 02:02:00 -040021:43truefull15171517Country Fried Rock 1516: Great Peacock Recording, Touring, and CreatingSummary

        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...]]>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 goods@countryfriderock.org 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...]]>94afc34e-f2a3-4115-a921-275900390df7Fri, 31 Oct 2025 02:02:00 -040023:58truefull15161516Country Fried Rock 1515: Year of October from Kentucky Roots to Nashville DreamsSummary

        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...]]>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 out@yearofoctober.com 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...]]>5c348dfd-07a4-47ec-9170-5d8a6f980361Fri, 24 Oct 2025 02:02:00 -040021:21truefull15151515Country Fried Rock 1513: Sam Lewis on the Making of 'Waiting on You'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...]]>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 goods@countryfriendrock.org 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...]]>b4ad03d9-50e1-4a45-b073-e60b0645d5cbFri, 24 Oct 2025 02:02:00 -040016:48truefull15131513Country Fried Rock 1511: Mic Harrison From V. Roy's to Roots RockSummary

        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 -...]]>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...]]>4570cf7a-690b-4380-8dce-1eb7868c68b0Fri, 17 Oct 2025 02:02:00 -040018:04truefull15111511Country Fried Rock 1510: The Bones of J.R. Jones Emerge from the Catskills Blues SceneSummary

        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 -...]]>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...]]>48942663-975a-48c0-b30d-a19df4beb6faFri, 17 Oct 2025 02:02:00 -040014:51truefull15101510Country Fried Rock 1509: M. Lockwood Porter From Oklahoma Roots to California RockSummary

        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 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

        ]]>713f1556-d9ac-41cd-943e-9b278dcdbb40Fri, 10 Oct 2025 02:02:00 -040018:19truefull15091509Country Fried Rock 1508: Andy Gabbard Beyond Buffalo Killers, Balancing Parenthood and a Passion for MusicSummary

        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...]]>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...]]>6bcb70b4-5108-40a5-ba13-a3863fdee03eFri, 10 Oct 2025 02:02:00 -040016:42truefull15081508Country Fried Rock 1507: Lee Gallagher Explores His Psychedelic RootsSummary

        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 only@teespring.com 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]]>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 only@teespring.com 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 goods@countryfriendrock.org 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 out@leegallagramusic.com 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...]]>226890eb-2218-42da-bcbd-1f3663a7ff48Fri, 03 Oct 2025 02:02:00 -040018:43truefull15071507Country Fried Rock 1506: Cale Tyson's Journey From Traditional Country to Soulful SoundsSummary

        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 only@teespring.com 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...]]>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 only@teespring.com 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 stuff@www.kaeltyson.net.

        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...]]>a9df9821-e404-40b6-8672-2e4861f8fb8cFri, 03 Oct 2025 02:02:00 -040022:05truefull15061506Country Fried Rock 1503: Rob Keller of 6 String Drag Roots Rock and Roll Returns After 18 YearsSummary

        This week on Country Fried Rock from 2015, we dive into the story behind the long-awaited return of 6 String Drag, a band that made waves in the late '90s before quietly stepping away from the spotlight.

        • We caught up with bassist Rob Keller to talk about the band’s journey, from their beloved album Hi Hat to their brand-new record, more than 15 years later.
        • The big question: why the long break, and what brought them back together now?
        • Even though we recorded this one out in the field (so the audio’s a little rough), the conversation is full of great insights into the evolution of roots rock and roll.
        • Rob opens up about the unique dynamics of reuniting with old bandmates, how their creative process has changed over the years, and what it feels like to make music together again.
        • We also touch on the magic of reconnecting—not just as musicians, but as friends—with songs that carry the weight of time and experience.
        
        

        It’s a heartfelt look at a band rediscovering its rhythm, and a reminder of how music can bring people back together, even after years apart.

        Show Notes

        In this episode of Country Fried Rock, we hit the road—literally—trying out mobile recording gear to capture the feel of live, in-the-moment conversations. Here’s what you can expect:

        • We sit down with Rob Keller, bassist and creative force behind 6 String Drag, for a deep dive into the band's history and recent reunion.
        • Rob shares stories from the High Hat era, an album that had the band on the verge of a major breakout back in the '90s.
        • We talk about the band’s long silence after that high point, and the personal and professional factors that led to their extended hiatus.
        • The conversation blends nostalgia with fresh excitement, as Rob reflects on what it’s been like to reconnect with Kenny Roby and the rest of the band after 15 years.
        • He opens up about how their sound has changed, what’s stayed the same, and how life off the road shaped the music they’re making now.
        • Despite some audio hiccups from recording in the wild, the heart of the conversation comes through, full of honesty, history, and hope for what’s next.
        
        

        This episode is all about second chances, old friends, and the music that never really goes away.

        Here's What We Wrote Back in 2015

        Kenny Roby (previously featured) and Rob Keller disbanded 6 String Drag at the top of their game, nearly 15 years ago. The first new album from 6 String Drag, Roots Rock N Roll, brings the group together again, ranging the gamut of roots rock with their brother-from-another-mother harmonies. Why would a regionally beloved band, seemingly at the peak of success, fall off the face of the earth? Love.

        Links

        • 6 String Drag on Bandcamp
        • Welfare Liners on Bandcamp (Rob Keller in a side project)
        • Roberto Adega on Bandcamp (Rob Keller project in Portuguese)
        • You might also like our conversation with Jim White
        • After you buy music or see a show, we appreciate your support with a few dollars in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Takeaways

        • In this episode of Country Fried Rock, we talk about 6 String Drag’s return to recording after an 18-year break. Yes, it’s been that long!
        • Rob Keller shares how his musical path has evolved over the years, including his work with both 6 String Drag and the Welfare Liners.
        • There’s real excitement around the band’s upcoming album, their first in nearly two decades and reflects everything they’ve learned and lived through since the early days.
        • Rob talks about the importance of supporting local record stores and how much it means when fans pick up physical copies of the music.
        • We also touch on the realities of touring: the good, the tough, and how musicians juggle their love for the road with family life back home.
        • And finally, we get into what it actually takes to make a record these days, from songwriting to studio time to the collaborative magic that brings it all together.
        
        

        It's a laid-back, honest conversation about returning to your roots, growing through the years, and still chasing the music.

        Mentioned in this Episode

        • 6String Drag
        • Welfare Liners
        • Drive By Truckers
        • Memories and Birds
        • Adobe Audition
        • Fidelatorium
        • Jason Merritt
        • McKenny
        • Joe Swank
        • Skillet Gilmore
        • Drivin n Cryin
        
        

        Recommended If You Like

        Country Fried Rock, Six String Drag, Rob Keller interview, roots rock music, bluegrass band, new album release, mobile recording technology, music podcast, Americana music, band reunions, live music shows, vinyl record production, folk rock, band dynamics, songwriting process, music collaboration, audio quality issues, house concerts, regional music scenes, music industry insights, 6 string drag

        Transcript

        Speaker A

        00:00:00.240 - 00:00:58.940

        This week on Country Fried Rock, we decided to take the show on the road for a few weeks, testing out some new technology for mobile recording. Yep, it sounded like a great idea, but unfortunately, it doesn't sound that great.

        So don't miss a minute of the Country Fried Rock road trips on countryfriedrock.org this week on Country Fried Rock, I talk with Rob Keller of Six String Drag.

        After their successful album hi hat in the 1990s, the band seemed poised to move beyond their regional success when they seemingly fell off the face of the earth. What happened to that great combination of Kenny Robey and Rob Keller and friends as Six String Drag?

        This is another one of our field recordings, so the audio quality is not quite up to our standards, but it's a great conversation about roots rock and roll. The first record in 15 years from Six String Drag, it's Rob Keller of Six String Drag this week on Country Fried Rock.

        Speaker B

        00:00:59.410 - 00:01:09.250

        My guest today on Country Fried Rock is Rob Keller, bass player, musician, songwriter, producer, and currently back with Six String Drag again. Hey.

        Speaker C

        00:01:09.490 - 00:01:09.970

        Hey.

        Speaker B

        00:01:10.290 - 00:01:27.090

        So just in some context for listeners, we met through mutual friends a few years ago, and then I realized at the same time, I was like, oh, that's the same Rob Keller from Six String Drag. Wait a minute. What are you doing playing bluegrass? What have you been doing musically for the last few years?

        Speaker C

        00:01:27.890 - 00:02:08.670

        Well, the last few years, as you might know, I've been in the. I've started a bluegrass band called the Welfare Liner. Three years ago, just playing.

        I really put it together, really just because I was bored and didn't have a lot of playing going on in the area. And I played bluegrass in the past and I had some friends that also played. And so we decided to put the band together.

        And then as it progressed, I started writing songs for the band. So we put out one record so far and we've got one in the can actually. Actually have another record supposed to come out next year, so.

        So that's what I've been doing, really, up until about a year ago. Been hooked back up with Kenny again, the Six String Drag, which has been a real blast.

        Got the one record about to come out and we're really excited about it.

        Speaker B

        00:02:09.070 - 00:02:20.670

        There's lots more that goes on with all that. Kenny Robey is, of course, the Kenny that you're talking about.

        And we actually featured Kenny on his last solo record, Memories and Birds, which was a beautiful record as well.

        Speaker C

        00:02:21.070 - 00:02:32.960

        Yeah, he recorded that at the same time we recorded the Welfare Liners. And we were swapping songs back and forth and playing Each other's songs, you know, because we were all through all this. Yeah.

        My wife's like brothers. We're like brothers.

        Speaker B

        00:02:33.920 - 00:02:41.360

        Speaking of which. And I'm sure I know I'm not the person won't be the last to say it. Your voices together when you sing. You do sound like brothers.

        Speaker C

        00:02:41.920 - 00:02:51.120

        That's true. We love the brother harmony. Something really has clicked with Kenny and I as far as the.

        We seem to have our own little sound with it and people seem to enjoy it. We enjoy it.

        Speaker B

        00:02:51.380 - 00:02:55.780

        At what point did it become, hey, let's. Let's see what Six String Drag might look like?

        Speaker...]]>Summary

        This week on Country Fried Rock from 2015, we dive into the story behind the long-awaited return of 6 String Drag, a band that made waves in the late '90s before quietly stepping away from the spotlight.

        • We caught up with bassist Rob Keller to talk about the band’s journey, from their beloved album Hi Hat to their brand-new record, more than 15 years later.
        • The big question: why the long break, and what brought them back together now?
        • Even though we recorded this one out in the field (so the audio’s a little rough), the conversation is full of great insights into the evolution of roots rock and roll.
        • Rob opens up about the unique dynamics of reuniting with old bandmates, how their creative process has changed over the years, and what it feels like to make music together again.
        • We also touch on the magic of reconnecting—not just as musicians, but as friends—with songs that carry the weight of time and experience.
        
        

        It’s a heartfelt look at a band rediscovering its rhythm, and a reminder of how music can bring people back together, even after years apart.

        Show Notes

        In this episode of Country Fried Rock, we hit the road—literally—trying out mobile recording gear to capture the feel of live, in-the-moment conversations. Here’s what you can expect:

        • We sit down with Rob Keller, bassist and creative force behind 6 String Drag, for a deep dive into the band's history and recent reunion.
        • Rob shares stories from the High Hat era, an album that had the band on the verge of a major breakout back in the '90s.
        • We talk about the band’s long silence after that high point, and the personal and professional factors that led to their extended hiatus.
        • The conversation blends nostalgia with fresh excitement, as Rob reflects on what it’s been like to reconnect with Kenny Roby and the rest of the band after 15 years.
        • He opens up about how their sound has changed, what’s stayed the same, and how life off the road shaped the music they’re making now.
        • Despite some audio hiccups from recording in the wild, the heart of the conversation comes through, full of honesty, history, and hope for what’s next.
        
        

        This episode is all about second chances, old friends, and the music that never really goes away.

        Here's What We Wrote Back in 2015

        Kenny Roby (previously featured) and Rob Keller disbanded 6 String Drag at the top of their game, nearly 15 years ago. The first new album from 6 String Drag, Roots Rock N Roll, brings the group together again, ranging the gamut of roots rock with their brother-from-another-mother harmonies. Why would a regionally beloved band, seemingly at the peak of success, fall off the face of the earth? Love.

        Links

        • 6 String Drag on Bandcamp
        • Welfare Liners on Bandcamp (Rob Keller in a side project)
        • Roberto Adega on Bandcamp (Rob Keller project in Portuguese)
        • You might also like our conversation with Jim White
        • After you buy music or see a show, we appreciate your support with a few dollars in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Takeaways

        • In this episode of Country Fried Rock, we talk about 6 String Drag’s return to recording after an 18-year break. Yes, it’s been that long!
        • Rob Keller shares how his musical path has evolved over the years, including his work with both 6 String Drag and the Welfare Liners.
        • There’s real excitement around the band’s upcoming album, their first in nearly two decades and reflects everything they’ve learned and lived through since the early days.
        • Rob talks about the importance of supporting local record stores and how much it means when fans pick up physical copies of the music.
        • We also touch on the realities of touring: the good, the tough, and how musicians juggle their love for the road with family life back home.
        • And finally, we get into what it actually takes to make a record these days, from songwriting to studio time to the collaborative magic that brings it all together.
        
        

        It's a laid-back, honest conversation about returning to your roots, growing through the years, and still chasing the music.

        Mentioned in this Episode

        • 6String Drag
        • Welfare Liners
        • Drive By Truckers
        • Memories and Birds
        • Adobe Audition
        • Fidelatorium
        • Jason Merritt
        • McKenny
        • Joe Swank
        • Skillet Gilmore
        • Drivin n Cryin
        
        

        Recommended If You Like

        Country Fried Rock, Six String Drag, Rob Keller interview, roots rock music, bluegrass band, new album release, mobile recording technology, music podcast, Americana music, band reunions, live music shows, vinyl record production, folk rock, band dynamics, songwriting process, music collaboration, audio quality issues, house concerts, regional music scenes, music industry insights, 6 string drag

        Transcript

        Speaker A

        00:00:00.240 - 00:00:58.940

        This week on Country Fried Rock, we decided to take the show on the road for a few weeks, testing out some new technology for mobile recording. Yep, it sounded like a great idea, but unfortunately, it doesn't sound that great.

        So don't miss a minute of the Country Fried Rock road trips on countryfriedrock.org this week on Country Fried Rock, I talk with Rob Keller of Six String Drag.

        After their successful album hi hat in the 1990s, the band seemed poised to move beyond their regional success when they seemingly fell off the face of the earth. What happened to that great combination of Kenny Robey and Rob Keller and friends as Six String Drag?

        This is another one of our field recordings, so the audio quality is not quite up to our standards, but it's a great conversation about roots rock and roll. The first record in 15 years from Six String Drag, it's Rob Keller of Six String Drag this week on Country Fried Rock.

        Speaker B

        00:00:59.410 - 00:01:09.250

        My guest today on Country Fried Rock is Rob Keller, bass player, musician, songwriter, producer, and currently back with Six String Drag again. Hey.

        Speaker C

        00:01:09.490 - 00:01:09.970

        Hey.

        Speaker B

        00:01:10.290 - 00:01:27.090

        So just in some context for listeners, we met through mutual friends a few years ago, and then I realized at the same time, I was like, oh, that's the same Rob Keller from Six String Drag. Wait a minute. What are you doing playing bluegrass? What have you been doing musically for the last few years?

        Speaker C

        00:01:27.890 - 00:02:08.670

        Well, the last few years, as you might know, I've been in the. I've started a bluegrass band called the Welfare Liner. Three years ago, just playing.

        I really put it together, really just because I was bored and didn't have a lot of playing going on in the area. And I played bluegrass in the past and I had some friends that also played. And so we decided to put the band together.

        And then as it progressed, I started writing songs for the band. So we put out one record so far and we've got one in the can actually. Actually have another record supposed to come out next year, so.

        So that's what I've been doing, really, up until about a year ago. Been hooked back up with Kenny again, the Six String Drag, which has been a real blast.

        Got the one record about to come out and we're really excited about it.

        Speaker B

        00:02:09.070 - 00:02:20.670

        There's lots more that goes on with all that. Kenny Robey is, of course, the Kenny that you're talking about.

        And we actually featured Kenny on his last solo record, Memories and Birds, which was a beautiful record as well.

        Speaker C

        00:02:21.070 - 00:02:32.960

        Yeah, he recorded that at the same time we recorded the Welfare Liners. And we were swapping songs back and forth and playing Each other's songs, you know, because we were all through all this. Yeah.

        My wife's like brothers. We're like brothers.

        Speaker B

        00:02:33.920 - 00:02:41.360

        Speaking of which. And I'm sure I know I'm not the person won't be the last to say it. Your voices together when you sing. You do sound like brothers.

        Speaker C

        00:02:41.920 - 00:02:51.120

        That's true. We love the brother harmony. Something really has clicked with Kenny and I as far as the.

        We seem to have our own little sound with it and people seem to enjoy it. We enjoy it.

        Speaker B

        00:02:51.380 - 00:02:55.780

        At what point did it become, hey, let's. Let's see what Six String Drag might look like?

        Speaker C

        00:02:56.020 - 00:03:36.170

        Well, it kind of started probably over a year ago. We talked about maybe Kenny and I just doing a record together as a Kenny solo record and then me playing on it.

        And then it progressed into, well, let's get Scott Miller. And then it progressed and, well, let's fly Duffy Ann for this little project, you know.

        And so then it kind of and still was going to be maybe a Kenny Roby solo. Because we didn't know what the band could get back together and actually play on the road. We decided to do some of that, actually.

        Just Kenny and I being six String drag as a duo. Just the two of us with the pitch of guitar and stand up bass, you know, or get some other guys and be able to go out and play as a six String Drag.

        The band, dude, the rock band.

        Speaker B

        00:03:36.330 - 00:03:42.490

        I got to see y' all as both a duo and as a band. Then over this reinterpretation of what six String Drag is.

        Speaker C

        00:03:43.050 - 00:03:59.880

        Yeah, I think we kind of picked up where we left off because we still have that same sound. Been 18 years since we recorded a record.

        And I like to think that even if we stay together all this time and we had recorded made all these albums in between during all these years, that we still would have come out with a record that sounded like this at this time.

        Speaker A

        00:03:59.880 - 00:04:14.560

        Hey, y', all, this is Sloan Spencer, the host of Country Fried Rock. We've had an incredible year with more people finding us on the radio and our podcast than we ever imagined. Thank you all so much.

        Careful what you wish for. You just might get it.

        Speaker C

        00:04:14.560 - 00:04:15.120

        Oh, yeah.

        Speaker A

        00:04:15.120 - 00:04:28.020

        And if any of you all are experts on Adobe Audition, would love some help fixing up these last few field recordings, helping to get rid of that echo and improve the sound because next week's show is pretty darn fabulous.

        Speaker C

        00:04:28.260 - 00:04:32.340

        Hey, this is Rob Keller from Six String Drag on Country Fried Rock.

        Speaker B

        00:04:32.500 - 00:04:37.700

        In the meantime, both of you have really, really developed as players and writers.

        Speaker C

        00:04:38.340 - 00:05:03.120

        Yeah, I think that we are better musicians. I mean, during all this time that we weren't together, we did get together a few times all through the years, do some little not reunion things.

        We just play together and then we been in different bands and we've kept in touch with each other. And just through the years, we still play that. We're lifers, you know, we're playing music for life, whether we make money or not.

        Yeah, we're constantly playing. And so through all the years, you know, we have developed musicians, I believe.

        Speaker B

        00:05:03.520 - 00:05:10.400

        What's different for you all deciding to come back together and making this really be your choice to make it happen.

        Speaker C

        00:05:11.040 - 00:05:43.220

        I think we just decided to do it because we like to play together and we like the music. I think that's just the number one thing. There's never been too big of a market for us probably anyway. We've always been very eclectic.

        And we started off, we'd play Honky Tonk country song here, then we play a rock song and sometimes meld the homogenized kind of sound from that.

        But mostly that we were influenced by many different things and we would play a song in that style of all those different things that we like, rather than melding it all together.

        Speaker B

        00:05:43.300 - 00:05:47.860

        What's it like for you to decide to put out a record from a logistics standpoint now?

        Speaker C

        00:05:49.030 - 00:06:12.910

        It's not too hard, actually. It's kind of easier in these days. You know, anybody can put out a record if they want to. It's a little bit of money.

        You can record something on your phone and then record something and then release it digitally if you wanted to.

        There was a chance that we might just do something digital, but, you know, now it's escalated into even getting vinyl out, which I'm very excited about. That's actually why the record was pushed back almost a month, is because we're waiting for some vinyl records to be pressed.

        Speaker B

        00:06:12.910 - 00:06:17.590

        So have you been able to bring in other people to be part of the team to help make this successful?

        Speaker C

        00:06:18.060 - 00:06:57.550

        Oh, yeah.

        I mean, we have our porn players, we have David Pops Wright, who is our piano player slash trombonist, played with us back in the past in round 96 to 97. He was not on High Hat, but he's on that Jack session CD that we. Yeah, he's all over that with the keys and the horns.

        And so he's playing with us now. And that's really exciting too. I think having some horns on the road makes our sound bigger.

        Kenny's worked with Jason Merritt, who engineered and helped produce the record. He worked Very hard on it. He worked on some McKenny stuff in the past.

        Memories and birds, people with the label, and, as you know, Joe Swank helping us. And everybody's really excited about it, I think.

        Speaker A

        00:06:58.030 - 00:07:16.110

        I'm your host, Sloan Spencer. You can keep in touch with us on Facebook.

        But I really like Twitter, where we are at country fried rock ending with R O K. And if you want to see pictures of my shoes, my dog and my lunch, stop by Instagram. But whatever way you like to hang out, so stop by and say, hey.

        Speaker C

        00:07:16.430 - 00:07:55.410

        Hey. This is Rob Keller of six Dream Drag. You can find out everything you need to know about us@www.sixstringdrag.com. that's with the number 6 or S IX.

        Where did y' all recorded? Fidelatorium, Mitch Easter's studio. He did not record it. He wasn't around. But Jason Merritt, he was a mastermind, I would say.

        Kenny and Jason probably had most to do with that. We did a lot of helping with the arranging of the songs and of course, made up our own parts and stuff like that.

        But as far as producing, yeah, it was very collective. Collective, I'd say. We were there for four days and we recorded this.

        Speaker B

        00:07:55.570 - 00:08:00.050

        Had you all already worked those songs up live prior to going in to record at the auditorium?

        Speaker C

        00:08:00.210 - 00:08:32.540

        No, we did not. Kenny had just written them and we just got together and all played them for the first time.

        I went through song by song and just did some arranging and put them down on tape. And I think there's some real magic there.

        We had a great time doing it, and I think having fun and having a blast doing it really helps, like, the energy of the whole thing. Little on the, you know, on the acoustic side, it has this neo retro vibe, I guess you'd call it.

        Has a lot of 50s rock influence as far as the themes, really. Some of the songs venture out into other things, but we're excited.

        Speaker B

        00:08:32.860 - 00:08:35.700

        What does touring or playing out look like for y'?

        Speaker C

        00:08:35.700 - 00:08:56.720

        All? Well, getting around day jobs, we are starting off with long weekends, just trying to take it as it comes.

        And if things get offered to us that are big and further away, then we can take time from those jobs and get out and, you know, and do what we need to do. But right now, it's long weekends in the Southeast, mainly. Some Midwest, I think, later on. And when the record comes out, we hit it a little harder.

        Speaker B

        00:08:57.200 - 00:09:03.360

        What surprises you of people who are finding your music now, whether they're rediscovering it or whether they're new to it?

        Speaker C

        00:09:03.960 - 00:09:26.120

        I guess both is surprising me a little bit because maybe I've just been out of it for the past 15 years, stuck in that, playing into bluegrass. Man, it's fun seeing people coming out of the cracks and going, whoa, I love these guys back then.

        They fell off the face of the earth, and here they are again. It's kind of neat to hear that. You know, it's spiked some excitement in all of us to be able to go out and do this again.

        Speaker B

        00:09:26.680 - 00:09:32.370

        What did happen? I felt like y' all were, like, at the top of your game, and then the next thing I knew, we.

        Speaker C

        00:09:32.370 - 00:09:52.330

        Fell off the face of the earth. Yeah. Yeah. Well, basically, family, just three out of the four members came home and got their wives and girlfriends pregnant.

        So we had babies to tend to. We do everything for love, and love found us. You have to stay with love.

        So now that the kids have kind of grown up, now that we can get out and, you know, daddy can rock and roll.

        Speaker B

        00:09:52.330 - 00:10:05.240

        I guess you used the word earlier. Something like the old magic back together or something to that effect.

        And it was interesting because I guess the last time I saw y' all play as a full band was over the summer. And there really is just some magic with y'.

        Speaker C

        00:10:05.240 - 00:10:12.720

        All. Yeah, I think so, too. We feel it, and it's real exciting when we play together. And that's why we like to do it.

        That's why we want to do it as much as we can.

        Speaker A

        00:10:12.800 - 00:10:34.940

        Hey, y'. All. This is Sloan Spencer, the host of Country Fried Rock. Those of y' all who listen on our podcasts, it's a quick hit of just the conversation.

        If you want the full radio program with all the songs that we talk about, ask for it on your local radio station, joining 20 other stations across...]]>ffc7e3b6-1584-4b80-ba3f-f0c6bd42cef4Fri, 26 Sep 2025 02:02:00 -040015:31truefull15031503Country Fried Rock 1501: Jim White, Mr Cab Driver, Flea Market Expert, CollaboratorSummary

        This week’s episode from 2015 of Country Fried Rock takes a deep dive into the world of collaboration, with the talented Jim White joining us to talk about his recent partnership with the Packway Handle Band. We get into the highs and lows of working together creatively, especially when it comes to music production. Jim shares what it's like to take on the role of a “record foreman” instead of a traditional producer, giving us a fresh perspective on the creative process.

        Throughout the conversation, we talk about how different musical influences blend together, particularly the mix of Bluegrass with other genres, and Jim opens up about how his sound has evolved over time. Plus, we get into the challenges and wins he’s experienced in the studio, all while emphasizing how important spontaneity and connection are to making great music.

        It’s an insightful look at the art of collaboration and the exciting world of modern Southern music. Tune in and join the conversation!

        Show Notes

        • In the latest episode of Country Fried Rock, the hosts try out some new mobile recording tech to capture their musical conversations on the go.
        • While the idea is exciting, the sound quality didn’t quite turn out as expected, and it’s a bit rough around the edges.
        • Despite that, the episode is packed with engaging discussions, featuring the talented Jim White.
        • Jim shares some great insights into his recent collaboration with the Packway Handle Band, giving listeners a peek into the creative process behind their work.
        • This episode runs a bit longer than usual, offering plenty of time to dive deep into the artistic chemistry that comes from blending different musical backgrounds.
        
        

        Here's What We Wrote Back in 2015

        Jim White’s songwriting and visual art are some of the tangible fruits of his sometimes dark thoughts, but he is not the tortured Southern Gothic poet of his past. When Packway Handle Band (previously featured on Country Fried Rock), sought White’s assistance in producing their new record, they ended up collaborating in a back and forth manner, with White sharing a trove of bluegrass songs he had written with the Packway Handle guys, and Packway Handle sharing their new songs with White — hence, Jim White Vs. Packway Handle Band on this new Yep Roc release. Do not pigeonhole what you think you know about Jim White, nor of the Packway Handle Band; they all are pushing their boundaries to move into new territory musically. White does not tour the US much, but catch a show, if you can, most likely in Europe, where he is a cult figure.

        Buy Take It Like A Man here.

        Takeaways

        • In this episode, we took a shot at mobile recording and explored some new tech along the way.
        • Even with the challenges of recording on the road, we managed to have some great conversations over the course of four weeks.
        • Jim White joined us to talk about his collaboration with the Packway Handle Band and the creative journey they’ve been on together.
        • Their process was all about trading songs and ideas back and forth, building something truly collaborative.
        • Jim shared how much he enjoys producing music—not just for himself, but in helping others bring their artistic visions to life.
        • We wrapped up the episode reflecting on how connection, creativity, and a little spontaneity are at the heart of making music.
        
        

        Chapters

        • 00:00 - Country Fried Rock Road Trips
        • 02:53 - The Musical Collaboration Begins
        • 07:45 - Exploring Genre Boundaries in Music
        • 11:12 - A Journey to Denmark: The Arts Festival Invitation
        • 21:51 - The Journey to Connection
        • 22:43 - Letting Go and Contributing
        
        

        Links

        • Jim White vs Packway Handle Band on Yep Roc Records
        • Jim White
        • Jim White on Bandcamp
        • You may also enjoy this conversation with Danny Barnes
        • After you buy music or see a show, we appreciate your support with a few dollars in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Mentioned in this Episode

        • Country Fried Rock
        • Jim White
        • Packway Handle Band
        • Skipper Dee's
        • Bright Eyes
        • YEPROC
        • Luakabop
        • Anchor and the Butterfly
        • Drivin n Cryin
        • Steve Soto and the Twisted Hearts
        
        

        Recommended If You Like

        country fried rock, Jim White, Packway Handle Band, bluegrass music, mobile recording podcast, country music podcast, music collaboration, Southern music scene, indie music production, music interviews, recording studio techniques, music technology, acoustic music, Americana music, music production tips, creative collaboration, road trip podcast, artist interviews, music genre fusion, live music performance

        
        

        ]]>Summary

        This week’s episode from 2015 of Country Fried Rock takes a deep dive into the world of collaboration, with the talented Jim White joining us to talk about his recent partnership with the Packway Handle Band. We get into the highs and lows of working together creatively, especially when it comes to music production. Jim shares what it's like to take on the role of a “record foreman” instead of a traditional producer, giving us a fresh perspective on the creative process.

        Throughout the conversation, we talk about how different musical influences blend together, particularly the mix of Bluegrass with other genres, and Jim opens up about how his sound has evolved over time. Plus, we get into the challenges and wins he’s experienced in the studio, all while emphasizing how important spontaneity and connection are to making great music.

        It’s an insightful look at the art of collaboration and the exciting world of modern Southern music. Tune in and join the conversation!

        Show Notes

        • In the latest episode of Country Fried Rock, the hosts try out some new mobile recording tech to capture their musical conversations on the go.
        • While the idea is exciting, the sound quality didn’t quite turn out as expected, and it’s a bit rough around the edges.
        • Despite that, the episode is packed with engaging discussions, featuring the talented Jim White.
        • Jim shares some great insights into his recent collaboration with the Packway Handle Band, giving listeners a peek into the creative process behind their work.
        • This episode runs a bit longer than usual, offering plenty of time to dive deep into the artistic chemistry that comes from blending different musical backgrounds.
        
        

        Here's What We Wrote Back in 2015

        Jim White’s songwriting and visual art are some of the tangible fruits of his sometimes dark thoughts, but he is not the tortured Southern Gothic poet of his past. When Packway Handle Band (previously featured on Country Fried Rock), sought White’s assistance in producing their new record, they ended up collaborating in a back and forth manner, with White sharing a trove of bluegrass songs he had written with the Packway Handle guys, and Packway Handle sharing their new songs with White — hence, Jim White Vs. Packway Handle Band on this new Yep Roc release. Do not pigeonhole what you think you know about Jim White, nor of the Packway Handle Band; they all are pushing their boundaries to move into new territory musically. White does not tour the US much, but catch a show, if you can, most likely in Europe, where he is a cult figure.

        Buy Take It Like A Man here.

        Takeaways

        • In this episode, we took a shot at mobile recording and explored some new tech along the way.
        • Even with the challenges of recording on the road, we managed to have some great conversations over the course of four weeks.
        • Jim White joined us to talk about his collaboration with the Packway Handle Band and the creative journey they’ve been on together.
        • Their process was all about trading songs and ideas back and forth, building something truly collaborative.
        • Jim shared how much he enjoys producing music—not just for himself, but in helping others bring their artistic visions to life.
        • We wrapped up the episode reflecting on how connection, creativity, and a little spontaneity are at the heart of making music.
        
        

        Chapters

        • 00:00 - Country Fried Rock Road Trips
        • 02:53 - The Musical Collaboration Begins
        • 07:45 - Exploring Genre Boundaries in Music
        • 11:12 - A Journey to Denmark: The Arts Festival Invitation
        • 21:51 - The Journey to Connection
        • 22:43 - Letting Go and Contributing
        
        

        Links

        • Jim White vs Packway Handle Band on Yep Roc Records
        • Jim White
        • Jim White on Bandcamp
        • You may also enjoy this conversation with Danny Barnes
        • After you buy music or see a show, we appreciate your support with a few dollars in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Mentioned in this Episode

        • Country Fried Rock
        • Jim White
        • Packway Handle Band
        • Skipper Dee's
        • Bright Eyes
        • YEPROC
        • Luakabop
        • Anchor and the Butterfly
        • Drivin n Cryin
        • Steve Soto and the Twisted Hearts
        
        

        Recommended If You Like

        country fried rock, Jim White, Packway Handle Band, bluegrass music, mobile recording podcast, country music podcast, music collaboration, Southern music scene, indie music production, music interviews, recording studio techniques, music technology, acoustic music, Americana music, music production tips, creative collaboration, road trip podcast, artist interviews, music genre fusion, live music performance

        
        

        ]]>d3bbf795-7ad3-46a0-85c3-3740f91e41ccFri, 26 Sep 2025 02:02:00 -040027:23truefull15011501Country Fried Rock 1524: Danny Barnes on Crafting Unique Sounds, Electronic Music, & the Steve Martin PrizeSummary

        Danny Barnes, the incredibly talented banjo player, just won the prestigious Steve Martin Prize for Excellence in Banjo and Bluegrass. It's a huge recognition that really highlights his impressive musical journey. In this conversation, we dive into the different sides of his artistry, everything from his experimental electronic folk music to his deep roots in traditional bluegrass. This year is extra special for him as he’s starting on some exciting new projects, like a pure banjo album and even a unique blend of banjo and tuba. We also talk about how this award, along with its financial support, is giving him the freedom to focus on long-awaited projects that are finally coming to life. So, come along as we explore the many layers of Barnes's music and how his creative vision is leaving a mark on today’s music scene.

        Here's What We Wrote in 2015

        Danny Barnes returns to Country Fried Rock to discuss his recent accolade, the Steve Martin Prize for Excellence in Banjo and Bluegrass. Barnes has two distinct audiences: those who know him for playing with bands ranging from Dave Matthews Band to the Butthole Surfers, and those who know him for his songwriting and wide-ranging banjo styles. The term “electronic folk” may have been coined just for him.

        Barnes is fascinated by sound, and how incongruous sounds mesh or conflict. From the computer programs he designed to interpret his banjo or bazouki playing to his obsession with noise music and cassettes, Barnes is engrossed by the process as much as the product. This year, he released a special recording for Cassette Store Day on his cassette-label, Minner Bucket Records, and will release a more traditional bluegrass album later. Barnes’ take on “tradition” is anything but traditional, though, so it is guaranteed to be another fascinating investigation of technology and instrumentation.

        ***We also spoke with Barnes in 2010 and hope to find that hard drive.

        Show Notes

        • The latest episode features Danny Barnes, an influential banjo player known for his groundbreaking work in bluegrass and experimental music.
        • Barnes recently won the prestigious Steve Martin Prize for Excellence in Banjo and Bluegrass, and in this conversation, he reflects on the impact of that recognition on his creative journey.
        • He explains how the financial support from the award is giving him the opportunity to pursue new artistic goals, including a long-awaited banjo album that captures his musical evolution and celebrates the instrument's pure sound.
        • We dive into his diverse musical influences, from traditional bluegrass to experimental electronic compositions, and discuss how his upcoming banjo album represents a return to his roots.
        • This album is just one side of Barnes’s creativity. He’s also continuing to push the boundaries of electronic music, blending genres in unique ways and challenging conventional ideas of what music can be.
        • Barnes’s label, Minner Bucket Records, plays a big role in his approach to music. He values artistic independence and community engagement, and shares stories about his hand-crafted cassette releases, highlighting the personal connection they create with his audience.
        • As the conversation unfolds, Barnes explores how bluegrass and electronic music, though different, share a common thread rooted in cultural tradition while embracing modern technology.
        • This episode is a celebration of how bluegrass remains a vital and evolving art form, with Danny Barnes at the forefront of shaping its future through his innovative work.
        
        

        Links

        • Minner Bucket Records
        • dannybarnes.com
        • Danny Barnes on Bandcamp
        • You might also like our conversation with Mike Mantoli of Hollis Brown
        • After you buy music or go to a show, we would love your support with a few dollars in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Takeaways

        • Danny Barnes has had an amazing year, winning the prestigious Steve Martin Prize for Excellence in Banjo and Bluegrass, which is a huge recognition of his talent in the genre.
        • His music spans a wide range of styles, from experimental electronic folk to classic bluegrass, proving just how versatile he is as an artist.
        • Thanks to the financial support from the prize, Barnes now has the time and resources to finish several long-term projects, including a much-anticipated banjo album he's been working on for a while.
        • Barnes is all about embracing technology to fuel his creativity, stressing the importance of using new tools while staying true to his artistic vision.
        • His work with Minner Bucket Records is a great example of this. Not only does he release his own music, but he also supports and promotes other artists he believes in.
        • Throughout the conversation, Barnes shares his belief that music and art have the power to transform, and he encourages others to innovate and express themselves authentically in their creative journey.
        
        

        Chapters

        • 00:02 - Danny Barnes: A New Chapter in Bluegrass
        • 04:40 - The Journey of Music and Creativity
        • 08:16 - The Evolution of Music Production
        • 16:20 - Exploring the Intersection of Music and Technology
        • 24:00 - The Evolution of Music Production
        • 25:21 - The Allure of Cassette Players
        
        

        Recommended If You Like

        Danny Barnes, banjo player, Steve Martin Prize, bluegrass music, experimental folk, electronic music, Country Fried Rock, noise music, banjo recordings, Minner Bucket Records, Barnyard Electronics, cassette tapes, DIY music, underground artist, acoustic music, creative process, music production, sound manipulation, contemporary art in music, music collaborations

        Transcript

        Speaker A

        00:00:00.160 - 00:00:39.860

        Danny Barnes joins us again this week on Country Fried Rock. The upstart banjo player just won the Steve Martin prize for excellence in banjo and bluegrass.

        While Barnes is often known for playing with other bands, his own work ranges from experimental electronic folk music. Yes, you heard that. Right. Through funky rock with a banjo all the way through. To noise music and a traditional bluegrass record on the way.

        There's a whole lot going on this year with Danny Barnes on Country Fried Rock, and I'm your host, Sloan Spencer. My guest today on Country Fried Rock is Danny Barnes, a country fried rock alum from several years ago, following his record Pizza Box.

        But, boy, has a lot happened since. Welcome.

        Speaker B

        00:00:40.100 - 00:00:41.780

        Hey, Sloan. How are you guys doing?

        Speaker A

        00:00:41.780 - 00:00:46.340

        Doing great. What an amazing, incredible year for you.

        Speaker B

        00:00:46.660 - 00:00:48.900

        Yeah, I've been kind of busy, kind of wacky.

        Speaker A

        00:00:48.980 - 00:01:00.500

        I first read about the Steve Martin Prize with the excellence in banjo and bluegrass, and I thought, what an amazing thing. And that was the first that I had heard about it.

        Speaker B

        00:01:01.380 - 00:02:04.200

        Yeah, he's a pretty smart fella, and he's kind of figured out a way of. I don't know, it's pretty invigorating for artists, you know, to get a little bit of help and a little recognition.

        If you kind of give someone that's a creative person a little bit of help, they tend to do interesting things with it and stuff. And he's a fan, a real fan of banjo. He just likes banjos and banjo music. And I don't know, he's pretty. Seems to be pretty obsessed with it and stuff.

        And so him and I have a lot in common in that regard, I guess. But I think what he's doing is pretty smart, and it's really interesting that he would do that.

        And the people that have won have been really different kinds of different. All different kinds of players. And then the folks he has on the board represent a lot of different kinds of players, too, like J.D. you know, J.D.

        crow is one of the guys and all different people and stuff. It's real interesting. I don't know, I just think he's a.

        He's a super smart man, and he's really figured out a way to give back in a pretty powerful way, you know, So I know my hat's off.

        Speaker A

        00:02:04.200 - 00:02:11.440

        To him, you know, it's incredible. And the prize also comes with some significant financial support. What is that allowing you to do?

        Speaker B

        00:02:11.920 - 00:02:53.330

        Well, a lot of things. One is, I've just got a lot of music that I've written that I haven't really been able to sort of commit to either tape or paper. Because I've been.

        I have to work really hard, and I do, you know, 120 days a year, whatever, touring. So I'm out a lot and I have to work really hard. I put out a lot of recordings and I work really hard because I'm pretty far underground.

        And so I have some projects that I sort of haven't really been able to finish because I've been working really hard on...]]>Summary

        Danny Barnes, the incredibly talented banjo player, just won the prestigious Steve Martin Prize for Excellence in Banjo and Bluegrass. It's a huge recognition that really highlights his impressive musical journey. In this conversation, we dive into the different sides of his artistry, everything from his experimental electronic folk music to his deep roots in traditional bluegrass. This year is extra special for him as he’s starting on some exciting new projects, like a pure banjo album and even a unique blend of banjo and tuba. We also talk about how this award, along with its financial support, is giving him the freedom to focus on long-awaited projects that are finally coming to life. So, come along as we explore the many layers of Barnes's music and how his creative vision is leaving a mark on today’s music scene.

        Here's What We Wrote in 2015

        Danny Barnes returns to Country Fried Rock to discuss his recent accolade, the Steve Martin Prize for Excellence in Banjo and Bluegrass. Barnes has two distinct audiences: those who know him for playing with bands ranging from Dave Matthews Band to the Butthole Surfers, and those who know him for his songwriting and wide-ranging banjo styles. The term “electronic folk” may have been coined just for him.

        Barnes is fascinated by sound, and how incongruous sounds mesh or conflict. From the computer programs he designed to interpret his banjo or bazouki playing to his obsession with noise music and cassettes, Barnes is engrossed by the process as much as the product. This year, he released a special recording for Cassette Store Day on his cassette-label, Minner Bucket Records, and will release a more traditional bluegrass album later. Barnes’ take on “tradition” is anything but traditional, though, so it is guaranteed to be another fascinating investigation of technology and instrumentation.

        ***We also spoke with Barnes in 2010 and hope to find that hard drive.

        Show Notes

        • The latest episode features Danny Barnes, an influential banjo player known for his groundbreaking work in bluegrass and experimental music.
        • Barnes recently won the prestigious Steve Martin Prize for Excellence in Banjo and Bluegrass, and in this conversation, he reflects on the impact of that recognition on his creative journey.
        • He explains how the financial support from the award is giving him the opportunity to pursue new artistic goals, including a long-awaited banjo album that captures his musical evolution and celebrates the instrument's pure sound.
        • We dive into his diverse musical influences, from traditional bluegrass to experimental electronic compositions, and discuss how his upcoming banjo album represents a return to his roots.
        • This album is just one side of Barnes’s creativity. He’s also continuing to push the boundaries of electronic music, blending genres in unique ways and challenging conventional ideas of what music can be.
        • Barnes’s label, Minner Bucket Records, plays a big role in his approach to music. He values artistic independence and community engagement, and shares stories about his hand-crafted cassette releases, highlighting the personal connection they create with his audience.
        • As the conversation unfolds, Barnes explores how bluegrass and electronic music, though different, share a common thread rooted in cultural tradition while embracing modern technology.
        • This episode is a celebration of how bluegrass remains a vital and evolving art form, with Danny Barnes at the forefront of shaping its future through his innovative work.
        
        

        Links

        • Minner Bucket Records
        • dannybarnes.com
        • Danny Barnes on Bandcamp
        • You might also like our conversation with Mike Mantoli of Hollis Brown
        • After you buy music or go to a show, we would love your support with a few dollars in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Takeaways

        • Danny Barnes has had an amazing year, winning the prestigious Steve Martin Prize for Excellence in Banjo and Bluegrass, which is a huge recognition of his talent in the genre.
        • His music spans a wide range of styles, from experimental electronic folk to classic bluegrass, proving just how versatile he is as an artist.
        • Thanks to the financial support from the prize, Barnes now has the time and resources to finish several long-term projects, including a much-anticipated banjo album he's been working on for a while.
        • Barnes is all about embracing technology to fuel his creativity, stressing the importance of using new tools while staying true to his artistic vision.
        • His work with Minner Bucket Records is a great example of this. Not only does he release his own music, but he also supports and promotes other artists he believes in.
        • Throughout the conversation, Barnes shares his belief that music and art have the power to transform, and he encourages others to innovate and express themselves authentically in their creative journey.
        
        

        Chapters

        • 00:02 - Danny Barnes: A New Chapter in Bluegrass
        • 04:40 - The Journey of Music and Creativity
        • 08:16 - The Evolution of Music Production
        • 16:20 - Exploring the Intersection of Music and Technology
        • 24:00 - The Evolution of Music Production
        • 25:21 - The Allure of Cassette Players
        
        

        Recommended If You Like

        Danny Barnes, banjo player, Steve Martin Prize, bluegrass music, experimental folk, electronic music, Country Fried Rock, noise music, banjo recordings, Minner Bucket Records, Barnyard Electronics, cassette tapes, DIY music, underground artist, acoustic music, creative process, music production, sound manipulation, contemporary art in music, music collaborations

        Transcript

        Speaker A

        00:00:00.160 - 00:00:39.860

        Danny Barnes joins us again this week on Country Fried Rock. The upstart banjo player just won the Steve Martin prize for excellence in banjo and bluegrass.

        While Barnes is often known for playing with other bands, his own work ranges from experimental electronic folk music. Yes, you heard that. Right. Through funky rock with a banjo all the way through. To noise music and a traditional bluegrass record on the way.

        There's a whole lot going on this year with Danny Barnes on Country Fried Rock, and I'm your host, Sloan Spencer. My guest today on Country Fried Rock is Danny Barnes, a country fried rock alum from several years ago, following his record Pizza Box.

        But, boy, has a lot happened since. Welcome.

        Speaker B

        00:00:40.100 - 00:00:41.780

        Hey, Sloan. How are you guys doing?

        Speaker A

        00:00:41.780 - 00:00:46.340

        Doing great. What an amazing, incredible year for you.

        Speaker B

        00:00:46.660 - 00:00:48.900

        Yeah, I've been kind of busy, kind of wacky.

        Speaker A

        00:00:48.980 - 00:01:00.500

        I first read about the Steve Martin Prize with the excellence in banjo and bluegrass, and I thought, what an amazing thing. And that was the first that I had heard about it.

        Speaker B

        00:01:01.380 - 00:02:04.200

        Yeah, he's a pretty smart fella, and he's kind of figured out a way of. I don't know, it's pretty invigorating for artists, you know, to get a little bit of help and a little recognition.

        If you kind of give someone that's a creative person a little bit of help, they tend to do interesting things with it and stuff. And he's a fan, a real fan of banjo. He just likes banjos and banjo music. And I don't know, he's pretty. Seems to be pretty obsessed with it and stuff.

        And so him and I have a lot in common in that regard, I guess. But I think what he's doing is pretty smart, and it's really interesting that he would do that.

        And the people that have won have been really different kinds of different. All different kinds of players. And then the folks he has on the board represent a lot of different kinds of players, too, like J.D. you know, J.D.

        crow is one of the guys and all different people and stuff. It's real interesting. I don't know, I just think he's a.

        He's a super smart man, and he's really figured out a way to give back in a pretty powerful way, you know, So I know my hat's off.

        Speaker A

        00:02:04.200 - 00:02:11.440

        To him, you know, it's incredible. And the prize also comes with some significant financial support. What is that allowing you to do?

        Speaker B

        00:02:11.920 - 00:02:53.330

        Well, a lot of things. One is, I've just got a lot of music that I've written that I haven't really been able to sort of commit to either tape or paper. Because I've been.

        I have to work really hard, and I do, you know, 120 days a year, whatever, touring. So I'm out a lot and I have to work really hard. I put out a lot of recordings and I work really hard because I'm pretty far underground.

        And so I have some projects that I sort of haven't really been able to finish because I've been working really hard on just trying to, you know, just keeping my business going and stuff. And so that kind of gives me a little breathing room on that. One of them is I've never really done like a straight up banjo record.

        Speaker A

        00:02:53.570 - 00:02:54.130

        Yeah.

        Speaker B

        00:02:54.450 - 00:03:55.170

        And I've been talking to some people about doing that.

        And I'm excited about going to Nashville and getting some kind of straight up a team bluegrass player guys and just do just a straight up banjo record. You know, like, left to my own devices, I tend to blend like American music with like 20th century art or whatever.

        You know, I compose music and noise music and things like that is what I'm interested in. And so I've never really made just a straight up banjo record. But I've been working on that stuff since 1971, which is 43 years or whatever.

        So I've been working on it a long time, but I've never put any of that out. So I've been talking, been working on getting that done. And I have several different things I'm working on.

        One is I have this suite of music that it's serial music or 12 tone music for banjo and tuba. It's like the most maligned instruments in the history of the world.

        That has the most jokes about them, but some heavy music for those two instruments, which I thought would be kind of an interesting juxtaposition.

        Speaker A

        00:03:55.490 - 00:03:55.970

        Cool.

        Speaker B

        00:03:56.130 - 00:04:36.160

        And I've been working on that. I have a couple pieces done, but I need a little bit of time to finish it and record it and everything. And it's gonna help me do that this winter.

        And I'm excited about that. And just things like that just. I don't really know. My response to everything is just make stuff.

        So I don't know, it's like I don't really have a plan B. It's just. I just. Whatever happens, I just make something, I don't know, in response or whatever, as a.

        As an answer to or to ask a question or whatever. I just tend to like make something so I don't really know what else to do. I'm like just a valve, you know, it just only does one thing or something.

        Speaker A

        00:04:37.200 - 00:04:51.980

        Hey y', all, this is Sloane Spencer, the host of Country Fried Rock. We've had an incredible year with more finding us on the radio and our podcast than we ever imagined. Thank you all so much.

        Careful what you wish for, you just might get it.

        Speaker B

        00:04:52.220 - 00:04:55.660

        Hey, this is Danny Barnes and I'm on Country Fried Rock.

        Speaker A

        00:04:55.820 - 00:05:12.700

        Well, I've followed you in social media for a long time and seen you play live many, many times. You do a lot of different things that I'm fascinated by. So you also have these cassettes that you hand do the covers for.

        But then I think there's maybe more an official approach to some of these cassette releases.

        Speaker B

        00:05:12.700 - 00:08:22.500

        Now sometimes I have them made, you know, depending on what I do. And I put out some cassettes on other artists too.

        I have this little label that I run called Minner Bucket Records, which is M I N N E R Minner Bucket Records. And we have a bunch of stuff on our site that listeners can just stream for free and listen.

        But I put out tapes on some other people that I like, friends of mine, and stuff that I think is interesting and needs to be heard. And I put out tapes of my own music. And sometimes if I gonna do like this one tape that I make called Barnyard Electronics, which is kinda like.

        It's like the basic sort of palette of my, sort of my aesthetic, Barnyard Electronics on a cassette. And I have that going in perpetuity, that's not a fixed number.

        But sometimes I'll do tapes where I just do like a hundred of them signed and numbered and they're sequentially numbered and everything and I'll hand draw the covers and all that. In that case, if I'm gonna make 100 of them or 200 of them, I'll. I'll have them duplicated. And if I.

        For this particular run though, we were kind of up on it really close and I kind of had to crank them out. So I just made them at home. I just dubbed them at home. I just sat in front of two tape decks and just dubbed them off.

        It took about three days to do it.

        I made 50 copies and I just sat there and did them all by hand and just sat there and looked at those VU meters for about three 12 hour days or something. It took a long time, plus recording it and mixing it and mastering it. I mean that took like about a week probably. But I don't know.

        I do these projects. I'm kind of like, I. I do like our first thing we did on did on Minter Bucket Records was a series of CDRs.

        And there was a hundred of only 100 made, but every one had different music on it. And I'll have one name called the Pathos of Smack, which is a title I got from a Charles Dickens novel, Nicholas Nickleby.

        But I did, I had 100 and they all had hand drawn covers. Like I'd take like a. Like a cereal box and cut it up and draw things on it and that would be like the COVID or whatever.

        And I made a hundred of them and they were all different, you know, I sold them for $25 a piece and it took a lot of work, just a little bit of time. I had $2,500 free and clear. And it was like, whoa, man, this is pretty cool.

        You know, because in music it's really hard to get actually get the money in the bank, you know, it's like you can spend so much time on your press releases and social media and manufacturing product and setting up tours, talking to people and legal stuff and setting up your publishing and doing. You can easily spend 50, 60 hours a week and never actually put a penny in the bank, you know. And that was like about the year 2000 or 1999 or so.

        That's when it was like that was way before all this stuff was really happening. People doing self publishing back then, it wasn't really.

        That wasn't what people were thinking about, you know, but it certainly turned on a little 40 watt appliance bulb in my head and sort of it interested me because it was something that I just did it directly to my fans and it was something that was super creative on an artistic level and it went straight to people that were really interested in music. And it was a lot of work though. If you can imagine a hundred different records, it was a lot of work, but it was fun.

        Speaker A

        00:08:23.140 - 00:08:44.780

        You're constantly creating on so many different levels, I guess. I saw you play last live maybe a year ago and that was the first time that I had seen the app. I don't know if app isn't the right word.

        You had made a program on your computer. We're making noise music. I don't even know the right terms to use, but it was the first time I had seen you perform in that kind of capacity.

        Speaker B

        00:08:45.420 - 00:09:58.980

        Nice. I had to kind of figure out like programming and building programs because I couldn't find what I wanted. So I had to make it.

        It was pretty good to do that because that launch opened up a whole new like world for me, was learning about programming and stuff and something. Something I Didn't really. I use computers a lot of my work, like in the office, respect or whatever and certain things.

        But for recording, my training is actually in audio stuff. I use computers, obviously, a lot for that, but I never really created a platform for audio manipulation.

        And it took about two years really, probably to get it where I kept tweaking it and having to play live with it and see, and then it would screw up and I'd go home and rebuild. Took a long time, you know, to test it where I could. And then, you know, I got where I could play.

        Like, I did open up a show at Red Rocks for some friends of mine. There was. I don't know, there's probably 7,000 people there, but I could walk out there and do a set with my computer. And it was real solid.

        And I got my stability up and got it really reliable and stuff like that. And I'm rebuilding. I'm constantly rebuilding it. And I'm starting on another version of it now. And I kind of been tweaking on that.

        Speaker A

        00:09:59.220 - 00:10:03.740

        Is that something that you would like to collaborate with friends on, or is that more your way of seeing it?

        Speaker B

        00:10:03.740 - 00:13:22.580

        It's kind of my thing, you know, Like, I like manipulating the banjo and making these kind of soundscape things. I feel like it's like something I have to offer artistically.

        If you take commerce completely out of the picture and you're just talking about what does this guy do that's interesting or something.

        Like, for me, making something that wasn't there before is kind of interesting, you know, I mean, I get known for songs and for playing the banjo and playing on people's records and things like that.

        I think just my typical fan knows me more from that respect because I played on some record that they like, or maybe one of my songs or something was on a TV show they liked or they liked a song or something like that or whatever, or one of their friend or a band that they're into plays one of my songs or whatever and. But this is like something that I feel like is kind of like my own little tableau, so to speak, to create, you know, and things. And it's.

        It's really invigorating and it's not really for everybody because it's kind of like a hybridization of various kinds of musics.

        But I feel like, you know, I'm pretty driven about it and I really like it and it's really creative and it's kind of cool because, like, you can bend it and morph it sort of on the spot. Kind of like the way a DJ works, you know, you can kind of bend things in the moment.

        And some people think of electronics as being real static kind...]]>6bc543a4-c146-42df-b7b1-98ce09674e2bFri, 19 Sep 2025 02:02:00 -040030:16truefull15241524Country Fried Rock 1512: Hollis Brown's Mike Montali on the Making of '3 Shots'Summary

        This week in 2015, we're diving into a great conversation about the New York City-based band Hollis Brown. Front man and lead songwriter Mike Montali shares how independent record labels have been key to their journey, especially when it comes to getting them into industry events that led to some pretty major touring opportunities.

        We also talk about how the band’s sound has evolved, with their upcoming album 3 Shots showing a real shift in style. It’s got a more polished production compared to their earlier stuff, and you can really hear the growth. Mike opens up about what it was like working in the studio with producer Don Diego, and all the behind-the-scenes effort that went into bringing this new project to life.

        Throughout the chat, we touch on the power of music to transform, not just for listeners, but for the artists themselves, and how Hollis Brown stays true to their creative vision.

        Show Notes

        • We catch up with Hollis Brown, the NYC-based band known for blending garage rock roots with evolving, more refined sounds.
        • Lead songwriter Mike Montali shares how the band's sound has grown, from the raw energy of their debut Ride on the Train to the polished production of their upcoming album 3 Shots.
        • Mike talks about intentionally moving away from their earlier, grittier style to explore a more immersive and layered sound.
        • A big part of that shift came from working with producer Don Diego, whose quiet studio in the Poconos offered the perfect space for deep creative focus.
        • To get 3 Shots just right, the band sifted through more than 50 songs, narrowing it down to 10 tracks that best represented their current direction.
        • That careful selection process reflects their dedication not only to songwriting, but also to creating a cohesive album experience.
        • Mike also talks about how independent record labels have played a vital role in supporting the band, giving them both credibility and the chance to reach broader audiences through tours and industry connections.
        • Speaking of tours, Hollis Brown has some big plans, including hitting the road with Counting Crows and Citizen Cope, an exciting step forward in their growing career.
        • Mike reflects on the power of touring, the energy of live shows, and the bonds built with other artists along the way.
        • The conversation wraps up with Mike sharing his excitement for connecting with fans and getting Three Shots out into the world.
        • Overall, the episode is a deep dive into Hollis Brown’s artistic journey, highlighting their resilience, creative growth, and unwavering commitment to authentic music-making.
        
        

        Here's What We Wrote Back in 2015

        Hollis Brown rocked CMJ & SXSW so hard that they ended up on this summer’s tour with Counting Crows and Citizen Cope. The NYC band, fronted by songwriter, Mike Montali, tours extensively in the US and Europe, building audiences who yearn for their new albums, including their brand new one, 3 Shots, out 5/5/15 on Jullian Records.

        Buy Hollis Brown’s music here.

        Takeaways

        • In this episode, Mike Montali, lead songwriter for Hollis Brown, opens up about the band’s creative journey and how their music has evolved over time.
        • Their new album, 3 Shots, marks a big step forward in both sound and production, showing how far they’ve come since their early garage rock days.
        • Mike talks about how independent record labels have been a huge part of their success, helping them get into the right rooms and onto bigger stages.
        • The band recorded 3 Shots in a quiet, tucked-away studio in the Poconos, an ideal spot for staying focused and experimenting with their sound.
        • One key part of their process? Road testing songs live before heading into the studio. It helped them narrow things down to the best of the best for the album.
        • Hollis Brown is also feeling the love from their growing fanbase, and they’re excited about how that support continues to open new doors for them.
        
        

        Links

        • Hollis Brown
        • Hollis Brown on Bandcamp
        • You may also like this conversation with Lilly Hiatt
        • After you buy music from these musicians or see a show, we would love your support with a few bucks in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Mentioned in this Episode

        • Hollis Brown
        • Counting Crows
        • Citizen Cope
        • Julian Records
        • Don Diego
        • Adam Landry
        • Jesse Mallon
        • Black Keys
        • Iggy Pop
        • Kieran Kelly
        • Converse
        • Velvet Underground
        • St. Paul and the Broken Bones
        • Replacements
        • Big Star
        • Nikki Lane
        • John Agnello
        • Drivin n Cryin
        
        

        Recommended If You Like

        Hollis Brown, Country Fried Rock, independent record labels, Mike Montali, new album Three Shots, music evolution, touring with Counting Crows, music production process, indie band interviews, songwriting journey, vinyl records, music industry events, artist-friendly labels, Pledge Music, creative collaborations, Nashville music scene, live band recording, European music tours, Americana music festivals, record release strategies

        Transcript

        Speaker A

        00:00:00.160 - 00:00:24.080

        This week on Country Fried Rock, we're talking with Hollis Brown, a band out of New York City.

        Their lead songwriter, Mike Montale, shares with us how they've benefited from the support of independent record labels, as well as playing industry events that have led to large tours. It all starts with making great music, and that's the brand new album from Hollis Brown called Three Shots today on Country Fried Rock.

        Speaker B

        00:00:24.240 - 00:00:32.130

        My guest today on Country Fried Rock is Mike Montale of Hollis Brown with a new record coming out May 5th called three shots. Welcome.

        Speaker C

        00:00:32.370 - 00:00:33.610

        Hey, thanks for having me.

        Speaker B

        00:00:33.610 - 00:00:41.810

        I followed your band for a while, and as I've listened to the different records, your sound has been evolving. What's happening for Hollis Brown?

        Speaker C

        00:00:42.050 - 00:01:32.350

        Yeah, we're definitely evolving, that's for sure. I mean, I think every great band does evolve. You know, we don't want to make the same record over and over again. Definitely.

        People noticing an evolution in the. In the records is kind of cool. I think means we're doing what we set out to do.

        First record was Ride on the Train, which we put out 2013, and that was kind of more of a garage rock vibe, just like us in a home studio of our producer Adam Landry, in Nashville. And we just set up for, like, 10 days in his studio, like, in a circle pretty much, and just played everything live and, like, raw.

        And we wanted to do that record that way because it was our first crack at it, and we wanted to record that way because that was the band we were.

        But this one, we wanted to evolve a little bit and produce it a little more and really dive into the recording process more than we did on the first record. So it's definitely an evolution.

        Speaker B

        00:01:32.590 - 00:01:38.190

        So you mentioned bringing in some different things to the productions with Three Shots. Tell me a little more about that.

        Speaker C

        00:01:38.270 - 00:02:25.920

        Yeah, we recorded it with Don Diego, the producer, on this record, and we went to his studio as a house in the Poconos in Pennsylvania, and it's really, like, in the middle of nowhere. There's nothing around it at all. We went there, and we just pretty much sat and in his house for, like, two weeks.

        We didn't leave, and we just focused on the music. We set it up in his living room as a live band, and we tracked a lot of the instrumentation there. But then we went back and we redid.

        For the first record, all the vocals were live in the same room with the band.

        This record, we tracked the vocals, and we did the vocals separately, and we did some guitars separately and a little more of a modern style of recording onto Pro Tools. And the whole nine than the original than Right on the Train was. So it was definitely a. We try to up the production quality on this one.

        And I think you can hear that.

        Speaker B

        00:02:26.000 - 00:02:27.360

        How did y' all connect with Don?

        Speaker C

        00:02:27.760 - 00:03:38.700

        Don produced a friend of ours named Jesse Mallon, and we went on tour with Jesse in the uk And I asked Jesse, you know, we're trying to make a record. Well, what happened was we got asked to do something for Record Store Day last year, which was a Velvet Underground cover record.

        So we did a bunch of Velvet Underground songs for Record Store Day, and it was like only 500 copies made available. It was just like a cool niche, just a fun project to do. And we had a tight recording schedule. We had to do it all in two days.

        So I]]>Summary

        This week in 2015, we're diving into a great conversation about the New York City-based band Hollis Brown. Front man and lead songwriter Mike Montali shares how independent record labels have been key to their journey, especially when it comes to getting them into industry events that led to some pretty major touring opportunities.

        We also talk about how the band’s sound has evolved, with their upcoming album 3 Shots showing a real shift in style. It’s got a more polished production compared to their earlier stuff, and you can really hear the growth. Mike opens up about what it was like working in the studio with producer Don Diego, and all the behind-the-scenes effort that went into bringing this new project to life.

        Throughout the chat, we touch on the power of music to transform, not just for listeners, but for the artists themselves, and how Hollis Brown stays true to their creative vision.

        Show Notes

        • We catch up with Hollis Brown, the NYC-based band known for blending garage rock roots with evolving, more refined sounds.
        • Lead songwriter Mike Montali shares how the band's sound has grown, from the raw energy of their debut Ride on the Train to the polished production of their upcoming album 3 Shots.
        • Mike talks about intentionally moving away from their earlier, grittier style to explore a more immersive and layered sound.
        • A big part of that shift came from working with producer Don Diego, whose quiet studio in the Poconos offered the perfect space for deep creative focus.
        • To get 3 Shots just right, the band sifted through more than 50 songs, narrowing it down to 10 tracks that best represented their current direction.
        • That careful selection process reflects their dedication not only to songwriting, but also to creating a cohesive album experience.
        • Mike also talks about how independent record labels have played a vital role in supporting the band, giving them both credibility and the chance to reach broader audiences through tours and industry connections.
        • Speaking of tours, Hollis Brown has some big plans, including hitting the road with Counting Crows and Citizen Cope, an exciting step forward in their growing career.
        • Mike reflects on the power of touring, the energy of live shows, and the bonds built with other artists along the way.
        • The conversation wraps up with Mike sharing his excitement for connecting with fans and getting Three Shots out into the world.
        • Overall, the episode is a deep dive into Hollis Brown’s artistic journey, highlighting their resilience, creative growth, and unwavering commitment to authentic music-making.
        
        

        Here's What We Wrote Back in 2015

        Hollis Brown rocked CMJ & SXSW so hard that they ended up on this summer’s tour with Counting Crows and Citizen Cope. The NYC band, fronted by songwriter, Mike Montali, tours extensively in the US and Europe, building audiences who yearn for their new albums, including their brand new one, 3 Shots, out 5/5/15 on Jullian Records.

        Buy Hollis Brown’s music here.

        Takeaways

        • In this episode, Mike Montali, lead songwriter for Hollis Brown, opens up about the band’s creative journey and how their music has evolved over time.
        • Their new album, 3 Shots, marks a big step forward in both sound and production, showing how far they’ve come since their early garage rock days.
        • Mike talks about how independent record labels have been a huge part of their success, helping them get into the right rooms and onto bigger stages.
        • The band recorded 3 Shots in a quiet, tucked-away studio in the Poconos, an ideal spot for staying focused and experimenting with their sound.
        • One key part of their process? Road testing songs live before heading into the studio. It helped them narrow things down to the best of the best for the album.
        • Hollis Brown is also feeling the love from their growing fanbase, and they’re excited about how that support continues to open new doors for them.
        
        

        Links

        • Hollis Brown
        • Hollis Brown on Bandcamp
        • You may also like this conversation with Lilly Hiatt
        • After you buy music from these musicians or see a show, we would love your support with a few bucks in our Tip Jar
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        
        

        Mentioned in this Episode

        • Hollis Brown
        • Counting Crows
        • Citizen Cope
        • Julian Records
        • Don Diego
        • Adam Landry
        • Jesse Mallon
        • Black Keys
        • Iggy Pop
        • Kieran Kelly
        • Converse
        • Velvet Underground
        • St. Paul and the Broken Bones
        • Replacements
        • Big Star
        • Nikki Lane
        • John Agnello
        • Drivin n Cryin
        
        

        Recommended If You Like

        Hollis Brown, Country Fried Rock, independent record labels, Mike Montali, new album Three Shots, music evolution, touring with Counting Crows, music production process, indie band interviews, songwriting journey, vinyl records, music industry events, artist-friendly labels, Pledge Music, creative collaborations, Nashville music scene, live band recording, European music tours, Americana music festivals, record release strategies

        Transcript

        Speaker A

        00:00:00.160 - 00:00:24.080

        This week on Country Fried Rock, we're talking with Hollis Brown, a band out of New York City.

        Their lead songwriter, Mike Montale, shares with us how they've benefited from the support of independent record labels, as well as playing industry events that have led to large tours. It all starts with making great music, and that's the brand new album from Hollis Brown called Three Shots today on Country Fried Rock.

        Speaker B

        00:00:24.240 - 00:00:32.130

        My guest today on Country Fried Rock is Mike Montale of Hollis Brown with a new record coming out May 5th called three shots. Welcome.

        Speaker C

        00:00:32.370 - 00:00:33.610

        Hey, thanks for having me.

        Speaker B

        00:00:33.610 - 00:00:41.810

        I followed your band for a while, and as I've listened to the different records, your sound has been evolving. What's happening for Hollis Brown?

        Speaker C

        00:00:42.050 - 00:01:32.350

        Yeah, we're definitely evolving, that's for sure. I mean, I think every great band does evolve. You know, we don't want to make the same record over and over again. Definitely.

        People noticing an evolution in the. In the records is kind of cool. I think means we're doing what we set out to do.

        First record was Ride on the Train, which we put out 2013, and that was kind of more of a garage rock vibe, just like us in a home studio of our producer Adam Landry, in Nashville. And we just set up for, like, 10 days in his studio, like, in a circle pretty much, and just played everything live and, like, raw.

        And we wanted to do that record that way because it was our first crack at it, and we wanted to record that way because that was the band we were.

        But this one, we wanted to evolve a little bit and produce it a little more and really dive into the recording process more than we did on the first record. So it's definitely an evolution.

        Speaker B

        00:01:32.590 - 00:01:38.190

        So you mentioned bringing in some different things to the productions with Three Shots. Tell me a little more about that.

        Speaker C

        00:01:38.270 - 00:02:25.920

        Yeah, we recorded it with Don Diego, the producer, on this record, and we went to his studio as a house in the Poconos in Pennsylvania, and it's really, like, in the middle of nowhere. There's nothing around it at all. We went there, and we just pretty much sat and in his house for, like, two weeks.

        We didn't leave, and we just focused on the music. We set it up in his living room as a live band, and we tracked a lot of the instrumentation there. But then we went back and we redid.

        For the first record, all the vocals were live in the same room with the band.

        This record, we tracked the vocals, and we did the vocals separately, and we did some guitars separately and a little more of a modern style of recording onto Pro Tools. And the whole nine than the original than Right on the Train was. So it was definitely a. We try to up the production quality on this one.

        And I think you can hear that.

        Speaker B

        00:02:26.000 - 00:02:27.360

        How did y' all connect with Don?

        Speaker C

        00:02:27.760 - 00:03:38.700

        Don produced a friend of ours named Jesse Mallon, and we went on tour with Jesse in the uk And I asked Jesse, you know, we're trying to make a record. Well, what happened was we got asked to do something for Record Store Day last year, which was a Velvet Underground cover record.

        So we did a bunch of Velvet Underground songs for Record Store Day, and it was like only 500 copies made available. It was just like a cool niche, just a fun project to do. And we had a tight recording schedule. We had to do it all in two days.

        So I asked Jesse if he knew anybody, and he recommended Don.

        So we did that record with Don, and then we felt with this record, we should go again with Don, since he did such a great job with the Hollis Brown Gets Loaded record. You know, we're friends, so we're all friends in New York City. And so it worked out.

        Relationships, like, they take time to really feel comfortable, especially when recording and stuff.

        You know, you got to really all have the same vision and, you know, because one thing could throw it off if a producer you're not feeling comfortable with, you're feeling forced, you're not feeling the soul or, you know, the performance or everything can go it off. But we just felt really comfortable with Don, and we were really comfortable as a band after being on the road for most of 2014.

        So we just felt like it was the right time and right place, and we're all really proud of the record.

        Speaker B

        00:03:39.100 - 00:03:41.660

        Do you all road test those songs before recording?

        Speaker C

        00:03:42.220 - 00:04:28.310

        Yeah. You know, you take your whole life to write your first record, and then you have like two years to write the next record.

        So we, Homie and John, we've been friends since high school, so we've known each other quite a while. And we've written so many songs together. And we just wrote about 50 songs or 60 songs.

        And the thing about the first album, Ride on the Train, was we had all these songs. We went in and we recorded that. And then we had a year before the album even came out. And then it's been two years since then.

        So we really had like three years to nail down a bunch of songs that he's written or I've written or we wrote together. And then we just took them all to the band, you know, at least 50 songs. And then we took it to Don and then we pared that down to about 20 songs.

        And then from there we try to demo them and see what's going on. And then we recorded 12 of them, and then 10 made the record. It was a process, you know.

        Speaker A

        00:04:28.310 - 00:04:37.430

        Hey, y', all, this is Sloan Spencer, the host of Country Fried Rock. We've had an incredible year with more people finding us on the radio and our podcast than we ever imagined.

        Speaker B

        00:04:37.670 - 00:04:40.070

        Thank you all so much.

        Speaker A

        00:04:40.310 - 00:04:43.110

        Careful what you wish for, you just might get it.

        Speaker C

        00:04:43.190 - 00:04:59.650

        Hey, this is Mike from Hollis Brown on Country Fried Rock. I think it's all time and place.

        You know, we weren't too rushed to have this album done or any schedule, so we really took our time and made sure we all believed in the songs first and foremost, and we believed in the way we were going to record it and came out really good.

        Speaker B

        00:04:59.970 - 00:05:06.450

        I know that y' all were on the road heavily during 2014. What is that looking like for you all with the new record coming out?

        Speaker C

        00:05:06.850 - 00:05:53.390

        Oh, yeah, we're going to be on the road quite a bit, actually. The new record comes out May 5th. We'll be. We're actually going to be on tour with the Counting Crows this summer.

        It'll be us, Citizen Cope and the Counting Crows. We're doing 40 cities in the United States, and then we're going to go to Europe after that and headline in Europe for a month.

        So we'll be on the road for about four months, probably promoting the new record. Yeah, I love it over there. We went there last year as well. I think we did 31 shows in, like, 32 days in about nine countries.

        So kind of a whirlwind experience. But, you know, it's. It's such a cool vibe out there, and everybody's supportive of rock music, and we just love seeing bands actually play.

        You know, sometimes in the States you don't get that vibe Die Hard as you do out there. So it's not. It was nice.

        Speaker B

        00:05:53.550 - 00:05:55.230

        Well, so how did that connection come about?

        Speaker C

        00:05:55.710 - 00:06:39.130

        We put Right on the Train out with a live natural sound record, and I think it just started taking off, and I think the label has a natural following in Europe. So we had some pretty good press and some pretty good attention just from putting it out with them.

        And then it started to take off in the Netherlands and a couple other countries. So we. We had some festivals and we got a booking agent out there, and we just did it the old fashioned way and started tour out there to build it.

        But we went out there three times, so we went out there twice last Year once was with Jesse Madeline where we just did the UK for two weeks and then the other one was months tour, five week tour or something like that. So we just kind of built it, you know, we got some good press and started seeing that people were buying the record.

        So we went after it and went out there and started playing.

        Speaker B

        00:06:39.450 - 00:06:42.490

        What does an indie label like that bring to a band like yours?

        Speaker C

        00:06:43.130 - 00:07:14.410

        Can only speak for us, but it brought us some validity. They're really taste makers.

        Especially alive is in terms of that style of music, especially for a band coming out with their first album, you know, instead of doing it ourselves.

        The fact that we had a record label that's been out for 20 years, that's put out the Black Keys and Iggy Pop and a bunch of other bands that people know, I think it just gave us some validity and it gave us some credibility and it gave people definitely in Europe, it was just a reason to say, oh, they must be worth a listen, you know, if these guys are putting it out. That really did help us this time around.

        Speaker B

        00:07:14.650 - 00:07:16.890

        You all are doing some things a little bit differently.

        Speaker C

        00:07:16.970 - 00:09:05.170

        Started doing the record with pledge music because, you know, we wanted to make the record that we wanted to make and that we felt was right and we wanted to keep the audience that we built, you know, involved in what we're doing. So we wanted people to say, hey, this is us right now working on this song in the studio. Check it out.

        And pledge music is cool because it's like a crowdsourcing site, but you can really take part in the process of the record. So you see it from start to finish. You can watch it on the website, you know.

        So we did that to fund the recording so we can make the record we wanted to and how we wanted to and have it sound how we wanted to.

        And once we had the record in hand, it's coming out now on Julian Records, which is a label based out of New York City and they're kind of a very artist friendly label. So basically they let you make the record you want and the album cover and everything.

        You basically present them with a finished product and then you work hand in hand on the best strategy to get it out with our management, start the cycle how you want it to. You can hire whoever you want for pr, for radio, for this, that or the other thing.

        So it's really, it's not like you're just in some mass machine that's already established and they just throw you in there whether or not you fit. You know, it's really artist Friendly. And they pick who works with each artist very specifically based on the record you make.

        For us, it worked out, and we're really happy with it.

        And I think in an artist at our band, our size, the size we are now, you know, we couldn't have asked for a better, more ideal situation to launch the new record, because sometimes if you're on a major label, you know, you're a small fish in kind of a big pond, and they already have their wheels in motion, and they work with the same people all the time who might not get the record you made, you know, might be more chances for not the best bang for your buck, so to speak.

        So I think with Julian, it really gave us an opportunity to first and foremost be creative and also try and get the music heard the way we wanted it to be heard, you know?

        Speaker B

        00:09:05.490 - 00:09:08.930

        Well, so you mentioned album art. How did you all make those decisions?

        Speaker C

        00:09:09.970 - 00:09:51.070

        Well, we called a guy named Jeffrey Crowe, who did our first record. He's a live records go to guy for album art and friends with him.

        So we were looking for artists to make the record, and I called Jeff and I said, hey, Jeff, you know, we want to do something called Three Shots. Soon to be wife said, you know, it'd be a really cool album cover. Would be if you just have a bullet look like it went through the whole.

        The whole album, you know, so, like, to be the front is bullet hole, and then on the back is like the exit hole, you know, so. Wow, that's kind of really cool.

        So I told Jeff about that idea, and he kind of sent over four or five different looks and kind of just picked the one we wanted and then showed it to the label, and pretty easy.

        Speaker B

        00:09:51.550 - 00:09:54.910

        And you've got some vinyl to really appreciate that art with.

        Speaker C

        00:09:55.490 - 00:10:07.650

        Yeah, yeah. Well, that was the thing that struck me, because once she said it out, like, yeah, on a vinyl, you know, that would look so cool.

        Just you see one side, and you turn the vinyl over, and it just looks like a bullet hole through a record. That would be really cool.

        Speaker B

        00:10:08.210 - 00:10:12.050

        What did that creatively allow you all to do with liner notes, et cetera?

        Speaker C

        00:10:12.770 - 00:10:44.680

        Well, you definitely put more into the vinyl, you know, this time I wanted the art to be a little more minimal, one cool image that...]]>160649b8-e34e-4346-9bd8-ba2c75866815Fri, 19 Sep 2025 02:02:00 -040023:03truefull15121512Country Fried Rock 1523: Aaron Lee Tasjan Behind the Scenes Recording In the BlazesSummary

        In this episode, we sit down for a great conversation with the always-inspiring Aaron Lee Tasjan, known for his work with bands like Everest and the New York Dolls. The spotlight is on his latest album, In the Blazes, a project shaped by creativity, collaboration, and a spirit of spontaneity.

        Aaron shares stories from the road, including recent shows in Texas and his time at Americana Fest in Nashville, giving us a feel for the vibrant, supportive community that fuels this genre. We dive into the making of In the Blazes, where he talks about the joy of working with talented friends and the magic that comes from capturing real, unfiltered moments in the studio.

        Throughout the chat, Aaron offers thoughtful insights into his journey as a songwriter and reflects on the unpredictable (and often thrilling) nature of live performance—giving listeners a deeper look at the heart and soul behind his music.

        Show Notes

        • The conversation takes place in the heart of East Nashville, where Americana music is not just a genre but a living, evolving community.
        • Aaron Lee Tasjan—known for his work with bands like Everest and the New York Dolls—talks about his recent projects and his upcoming album, In the Blazes.
        • He shares his thoughts on Americana as a genre, describing it as a mix of diverse musical styles. While that variety is exciting, he acknowledges the challenges it brings in connecting with wider audiences.
        • Aaron dives into the creative process behind In the Blazes, explaining how the album came from a real need to express something personal and honest.
        • Recorded at New Monkey Studio in California, the sessions were shaped by collaboration, spontaneity, and a strong focus on capturing moments as they happened.
        • He emphasizes the value of working with talented musicians and a great producer—key elements, he says, in giving the album its genuine, lived-in sound.
        • The conversation also highlights Aaron’s approach to recording: keeping it live, keeping it real, and staying open to the unexpected.
        • Beyond the album, we explore the strong sense of community in Nashville. Aaron recalls putting together a one-night band with local artists—a perfect example of the camaraderie among musicians in the area.
        • We also touch on his journey from being a guitarist in other people’s bands to carving out his own voice as a songwriter and solo artist.
        
        

        Here's What We Wrote Back in 2015

        Aaron Lee Tasjan writes folk songs for an indie rock crowd, weaving storylines with humor and social commentary. His debut full-length album, In The Blazes, includes friends from his former band, Everest, at the helm, and the vibe of Elliott Smith’s studio, New Monkey. Tasjan is touring heavily in support of the album, opening for Ray Wylie Hubbard, and playing solo and band gigs across the country. NOTE: We previously featured ALT, following his debut EP.

        Takeaways

        • In this episode, we have a thoughtful and engaging conversation with Aaron Lee Tasjan about his journey as an artist.
        • Aaron talks about how important community and collaboration have been throughout his career in music.
        • We dive into the making of his latest album, In the Blazes, and how spontaneity played a big role in the recording process.
        • The conversation also touches on the unpredictable nature of live shows and how those unexpected moments can shape a performance.
        • Aaron offers great insight into his approach to songwriting, including the artists and techniques that have inspired him along the way.
        • We take a closer look at Americana as a genre, and how its wide range of influences makes it such a rich and evolving musical space.
        
        

        Chapters

        • 00:00 - A Chat with Aaron Lee Tasjan
        • 03:08 - The Process of Making an Album
        • 05:01 - The Evolution of a Songwriter
        • 07:14 - The Neighborhood Jam Session
        • 13:44 - Live Performance Dynamics and Audience Interaction
        • 17:00 - Music and Touring Plans
        
        

        Links

        • Aaron Lee Tasjan
        • Aaron Lee Tasjan on Bandcamp
        • You may also like our conversation with Kevn Kinney of Drivin n Cryin
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        • After you buy music or see a show with these musicians, consider tossing a few bucks into our Tip Jar
        
        

        Mentioned in this Episode

        • Country Fried Rock
        • Everest
        • Drivin n Cryin
        • Madison Square Gardeners
        • New York Dolls
        • Elliot Smith
        • Delta Spirit
        • Steelism
        • Billy Joe Shaver
        • George Satellites
        • Lilly Hiatt
        • Brian Wright
        • Ray Wiley Hubbard
        • Lightning 100
        • Curtis
        
        

        Recommended If You Like

        Aaron Lee Tasjan, Americana music, Country Fried Rock podcast, Nashville music scene, folk music, songwriting techniques, live music performances, music collaboration, indie music, music production, guitar player interviews, music festivals, in the Blazes album, Texas music gigs, music video production, Americana fest, Elliot Smith influence, creative songwriting, live recording sessions, neighborhood music collaborations

        Transcript

        Sloane Spencer

        00:00:00.560 - 00:00:33.160

        This week, I got to hang out with Country Fried Rock alum Aaron Lee Tasgin.

        You might know Aaron Lee Tasgin from his time playing with the band Everest as the guitar slinger for a time with Driving and Crying, his stint with the Madison Square Gardeners, or even on the road with the New York Dolls. We spent some time at his place in East Nashville just before his brand new album, in the Blazes, came out.

        We'll chat with our bud, Aaron Lee Tasgin, the alumni tour of Country Fried Rock, and I'm your host, Sarah. Sloan Spencer. So, Aaron, what you been doing?

        Aaron Lee Tasjan

        00:00:33.880 - 00:01:10.040

        Well, I just came back from a bunch of gigs in Texas that was really fun. I haven't played in Texas too much, so it's been an exciting adventure playing down there. But, yeah, I just did that, and that was really cool.

        And here in Nashville for the big Americana fest this week, it's cool to have, like, a community of people that care about the records, that great artists who maybe. I don't know. I feel like Americana is like one of those things that's combination of all this different stuff.

        So that might make it sometimes maybe too eclectic for certain people or something like that.

        Sloane Spencer

        00:01:10.440 - 00:01:25.230

        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.

        Aaron Lee Tasjan

        00:01:25.230 - 00:01:28.030

        Hey, this is Aaron Lee Taschen on Country Fried Rock.

        Sloane Spencer

        00:01:28.430 - 00:01:41.070

        So at Country Fried Rock, we've been on board with what you're doing for a while, since your ep. Well, I guess since before that ep. Anyway. It's been a bit of a process to get in the Blazes recorded and released.

        How did all that end up working out for you?

        Aaron Lee Tasjan

        00:01:41.390 - 00:01:55.220

        You know, it was really a process of necessity, I think, more than anything. I was doing this tour with my friends John Moreland and Caleb Cottle, and I think you actually sponsored the tour or some of the tour anyway.

        Sloane Spencer

        00:01:55.700 - 00:01:56.740

        One Good Night's Sleep.

        Aaron Lee Tasjan

        00:01:56.740 - 00:03:08.200

        Yeah. Yeah, no, it was awesome. Thank you very much for that. But, yeah, I was, you know, and I wanted to have something new to give people on that.

        So I just made this little another EP here in town really quick, just me and my guitar. Kind of like I do my gigs, and that was cool.

        And I didn't even really try to do anything with it, but I just kind of put it up online, and some people actually ended up writing some stuff about it that was really nice. Kind of out of nowhere and that was kind of cool.

        But, you know, I guess my point in saying all that dumb stuff I just said is that there wasn't really much ambition for it at all. And I knew I needed to make like an album because that's.

        If you're gonna be a songwriting guy that makes records, at some point you have to do like a whole one.

        So I kinda, you know, I kind of felt like, I don't know, some just weird self imposed thing to just want to prove to myself that I could put something together that lasted longer than like six songs or whatever. And so I did that. I just called, called up a bunch of my friends and said, let's, you know, make a...]]>Summary

        In this episode, we sit down for a great conversation with the always-inspiring Aaron Lee Tasjan, known for his work with bands like Everest and the New York Dolls. The spotlight is on his latest album, In the Blazes, a project shaped by creativity, collaboration, and a spirit of spontaneity.

        Aaron shares stories from the road, including recent shows in Texas and his time at Americana Fest in Nashville, giving us a feel for the vibrant, supportive community that fuels this genre. We dive into the making of In the Blazes, where he talks about the joy of working with talented friends and the magic that comes from capturing real, unfiltered moments in the studio.

        Throughout the chat, Aaron offers thoughtful insights into his journey as a songwriter and reflects on the unpredictable (and often thrilling) nature of live performance—giving listeners a deeper look at the heart and soul behind his music.

        Show Notes

        • The conversation takes place in the heart of East Nashville, where Americana music is not just a genre but a living, evolving community.
        • Aaron Lee Tasjan—known for his work with bands like Everest and the New York Dolls—talks about his recent projects and his upcoming album, In the Blazes.
        • He shares his thoughts on Americana as a genre, describing it as a mix of diverse musical styles. While that variety is exciting, he acknowledges the challenges it brings in connecting with wider audiences.
        • Aaron dives into the creative process behind In the Blazes, explaining how the album came from a real need to express something personal and honest.
        • Recorded at New Monkey Studio in California, the sessions were shaped by collaboration, spontaneity, and a strong focus on capturing moments as they happened.
        • He emphasizes the value of working with talented musicians and a great producer—key elements, he says, in giving the album its genuine, lived-in sound.
        • The conversation also highlights Aaron’s approach to recording: keeping it live, keeping it real, and staying open to the unexpected.
        • Beyond the album, we explore the strong sense of community in Nashville. Aaron recalls putting together a one-night band with local artists—a perfect example of the camaraderie among musicians in the area.
        • We also touch on his journey from being a guitarist in other people’s bands to carving out his own voice as a songwriter and solo artist.
        
        

        Here's What We Wrote Back in 2015

        Aaron Lee Tasjan writes folk songs for an indie rock crowd, weaving storylines with humor and social commentary. His debut full-length album, In The Blazes, includes friends from his former band, Everest, at the helm, and the vibe of Elliott Smith’s studio, New Monkey. Tasjan is touring heavily in support of the album, opening for Ray Wylie Hubbard, and playing solo and band gigs across the country. NOTE: We previously featured ALT, following his debut EP.

        Takeaways

        • In this episode, we have a thoughtful and engaging conversation with Aaron Lee Tasjan about his journey as an artist.
        • Aaron talks about how important community and collaboration have been throughout his career in music.
        • We dive into the making of his latest album, In the Blazes, and how spontaneity played a big role in the recording process.
        • The conversation also touches on the unpredictable nature of live shows and how those unexpected moments can shape a performance.
        • Aaron offers great insight into his approach to songwriting, including the artists and techniques that have inspired him along the way.
        • We take a closer look at Americana as a genre, and how its wide range of influences makes it such a rich and evolving musical space.
        
        

        Chapters

        • 00:00 - A Chat with Aaron Lee Tasjan
        • 03:08 - The Process of Making an Album
        • 05:01 - The Evolution of a Songwriter
        • 07:14 - The Neighborhood Jam Session
        • 13:44 - Live Performance Dynamics and Audience Interaction
        • 17:00 - Music and Touring Plans
        
        

        Links

        • Aaron Lee Tasjan
        • Aaron Lee Tasjan on Bandcamp
        • You may also like our conversation with Kevn Kinney of Drivin n Cryin
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        • After you buy music or see a show with these musicians, consider tossing a few bucks into our Tip Jar
        
        

        Mentioned in this Episode

        • Country Fried Rock
        • Everest
        • Drivin n Cryin
        • Madison Square Gardeners
        • New York Dolls
        • Elliot Smith
        • Delta Spirit
        • Steelism
        • Billy Joe Shaver
        • George Satellites
        • Lilly Hiatt
        • Brian Wright
        • Ray Wiley Hubbard
        • Lightning 100
        • Curtis
        
        

        Recommended If You Like

        Aaron Lee Tasjan, Americana music, Country Fried Rock podcast, Nashville music scene, folk music, songwriting techniques, live music performances, music collaboration, indie music, music production, guitar player interviews, music festivals, in the Blazes album, Texas music gigs, music video production, Americana fest, Elliot Smith influence, creative songwriting, live recording sessions, neighborhood music collaborations

        Transcript

        Sloane Spencer

        00:00:00.560 - 00:00:33.160

        This week, I got to hang out with Country Fried Rock alum Aaron Lee Tasgin.

        You might know Aaron Lee Tasgin from his time playing with the band Everest as the guitar slinger for a time with Driving and Crying, his stint with the Madison Square Gardeners, or even on the road with the New York Dolls. We spent some time at his place in East Nashville just before his brand new album, in the Blazes, came out.

        We'll chat with our bud, Aaron Lee Tasgin, the alumni tour of Country Fried Rock, and I'm your host, Sarah. Sloan Spencer. So, Aaron, what you been doing?

        Aaron Lee Tasjan

        00:00:33.880 - 00:01:10.040

        Well, I just came back from a bunch of gigs in Texas that was really fun. I haven't played in Texas too much, so it's been an exciting adventure playing down there. But, yeah, I just did that, and that was really cool.

        And here in Nashville for the big Americana fest this week, it's cool to have, like, a community of people that care about the records, that great artists who maybe. I don't know. I feel like Americana is like one of those things that's combination of all this different stuff.

        So that might make it sometimes maybe too eclectic for certain people or something like that.

        Sloane Spencer

        00:01:10.440 - 00:01:25.230

        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.

        Aaron Lee Tasjan

        00:01:25.230 - 00:01:28.030

        Hey, this is Aaron Lee Taschen on Country Fried Rock.

        Sloane Spencer

        00:01:28.430 - 00:01:41.070

        So at Country Fried Rock, we've been on board with what you're doing for a while, since your ep. Well, I guess since before that ep. Anyway. It's been a bit of a process to get in the Blazes recorded and released.

        How did all that end up working out for you?

        Aaron Lee Tasjan

        00:01:41.390 - 00:01:55.220

        You know, it was really a process of necessity, I think, more than anything. I was doing this tour with my friends John Moreland and Caleb Cottle, and I think you actually sponsored the tour or some of the tour anyway.

        Sloane Spencer

        00:01:55.700 - 00:01:56.740

        One Good Night's Sleep.

        Aaron Lee Tasjan

        00:01:56.740 - 00:03:08.200

        Yeah. Yeah, no, it was awesome. Thank you very much for that. But, yeah, I was, you know, and I wanted to have something new to give people on that.

        So I just made this little another EP here in town really quick, just me and my guitar. Kind of like I do my gigs, and that was cool.

        And I didn't even really try to do anything with it, but I just kind of put it up online, and some people actually ended up writing some stuff about it that was really nice. Kind of out of nowhere and that was kind of cool.

        But, you know, I guess my point in saying all that dumb stuff I just said is that there wasn't really much ambition for it at all. And I knew I needed to make like an album because that's.

        If you're gonna be a songwriting guy that makes records, at some point you have to do like a whole one.

        So I kinda, you know, I kind of felt like, I don't know, some just weird self imposed thing to just want to prove to myself that I could put something together that lasted longer than like six songs or whatever. And so I did that. I just called, called up a bunch of my friends and said, let's, you know, make a record together.

        Just a bunch of people that like I'd met throughout the years that had offered to help, like, you know, hey, if you ever want to make a.

        Sloane Spencer

        00:03:08.200 - 00:03:11.000

        Record, where did you end up recording it?

        Aaron Lee Tasjan

        00:03:11.240 - 00:03:13.320

        We did it in California.

        Sloane Spencer

        00:03:13.560 - 00:03:15.960

        Oh, okay. I don't know why, I thought you were in New York.

        Aaron Lee Tasjan

        00:03:16.120 - 00:03:32.740

        Yeah, no.

        Well, we did Crooked River Burning in New York, but this one, we in California at this studio called New Monkey, which is a really cool little studio. That's where Elliot Smith came from, a base. He like basically put the studio together and they've gone a long way to kind of keep it.

        Sloane Spencer

        00:03:32.900 - 00:03:35.460

        So, yeah, I mean, they kind of kept Elliot Smith's vision alive.

        Aaron Lee Tasjan

        00:03:35.700 - 00:04:23.500

        Yeah, it's so. It's cool. I don't know, it's fun to be in there and it's just a great room with a great vibe. And, you know, that's the other thing too.

        I think I learned a lot.

        This guy Eli, who we hired to produce it, he really taught me a huge lesson about recording, which is like, I think the two most important things are a good engineer and the other people that are playing on it. It's like if it's the right group of people, you can just really fly, fly through getting great stuff. And.

        And we did a lot of that live thing, you know, we did a lot of the live thing where it's like there wasn't a whole lot of overdubs or anything like that. And yeah, it was just fun to. It was just fun to make a record that way.

        That's kind of like very much like in the moment, like shooting from the hip kind of vibe, you know.

        Sloane Spencer

        00:04:24.060 - 00:04:25.980

        How did you connect with Eli originally?

        Aaron Lee Tasjan

        00:04:26.140 - 00:04:28.060

        We were in this band together called Everest.

        Sloane Spencer

        00:04:28.300 - 00:04:29.820

        Oh, okay. That Eli.

        Aaron Lee Tasjan

        00:04:29.980 - 00:04:40.540

        Yeah, he was the bass player in Everest and then he also produced the first two Delta Spirit records, which are still, I think, my Favorite Delta Spirit records. They're so good.

        Sloane Spencer

        00:04:41.340 - 00:05:01.119

        Well, so for folks that I mention you to, I think most of them recognize you as a guitar player for other people's bands. And I don't think it was till the EP with Crooked River Burning that they were like, oh, he writes songs, too.

        And then the work that you do tends to be a little more, I guess, coming from a folkie or a folk songwriter base. And I've had a lot of folks.

        Aaron Lee Tasjan

        00:05:01.119 - 00:06:01.370

        Be like, oh, yeah, that's true. I think there's definitely some truth to that, you know, And I'm.

        I'm kind of, you know, thinking about it much more in terms of, you know, the songwriting things these days, just because that's, like, what I'm just choosing to put my time and efforts into, you know, or what I feel like. I don't know. I feel like that's what I wanted. Like, doing that makes me feel happy and. And I have a lot of fun doing it, so. But, you know, I can't.

        I certainly can't deny, like.

        And there's good reason for people to know me as that, because that's pretty much all I've done, really, for the last, like, 10 years of my life, you know, was. I'd always did this in between, but it was very much that, you know, in between playing guitar in bands. But I still. I still.

        Every once in a while, I get to get up in town, someone will call. Joe Fletcher called me up a couple weeks ago and asked if I wanted to jam with him. And Brian Wright did, too, which was really not fun.

        Man, those guys are so good.

        Sloane Spencer

        00:06:02.730 - 00:06:19.910

        Oh, man, Brian Wright is the best. We featured him a couple records ago, and then it got picked up. And, you know, he was Texas, then he was Los Angeles, then he moved to Nashville.

        Anyway, that dude is amazing. I totally love him. I cannot wait to see him play live again. We need to get him back on the show, too.

        Brian, when you get back off tour, we need to talk. We've been chasing Joe Fletcher for a while, too.

        Aaron Lee Tasjan

        00:06:21.350 - 00:06:32.070

        Yeah, he's so good. He's so good, man. He's got. Joe has a song on his new one about this dream he had about Hank Williams. It's just amazing.

        Sloane Spencer

        00:06:32.310 - 00:06:53.610

        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@countryfriendarock.org hello, my.

        Aaron Lee Tasjan

        00:06:53.610 - 00:07:06.610

        Name is Aaron Lee Tasjan. You can catch me on tour for all of the time and you can find out where that's happening@www.aaronleetasjan.com.

        Sloane Spencer

        00:07:07.010 - 00:07:13.730

        I'Ll admit I'm super excited about your set at our party tonight with Erin Lee Tasjan and friends. Who did you give a buzz to?

        Aaron Lee Tasjan

        00:07:14.080 - 00:07:20.400

        Yeah, just, you know, a bunch of people from the neighborhood. We're just a band of neighborhood folks.

        Sloane Spencer

        00:07:20.720 - 00:07:22.240

        In a really cool neighborhood.

        Aaron Lee Tasjan

        00:07:22.400 - 00:08:17.260

        Yeah, in a really cool neighborhood. That's kind of what it feels like to me. You know, it's not. I don't want to get all high school football about it.

        You know, we're not, like, representing our community or anything, but, like.

        But it is fun to, like, be like, man, all these people just live right around here, and you can call them up and start a band for, like, one night, and that's what we're doing.

        So we got John Radford who's, you know, played with everybody in town, but probably most recently people would know him from his band Steelism that he plays in. So he's playing drums with us, the great Keith Christopher from Billy Joe Schaefer and Steve Marriott and the George Satellites on bass.

        And then we have Lily Hyatt singing. Love Lily Hyatt. She's so her.

        Her album that she put out earlier this year is one that I've listened to a bunch, and we're actually doing one of off of that tonight. A song of hers called Jesus would have let me pick the restaurant, which is.

        Sloane Spencer

        00:08:17.260 - 00:08:19.100

        That's the best lyric ever.

        Aaron Lee Tasjan

        00:08:19.100 - 00:08:49.379

        Isn't that so good? That one made me green with envy. I was like, man, that's good. You Lily Hyatt. But yeah, so we got Lily Hyatt singing.

        We've got Brian Wright is singing. We're gonna do.

        Since the whole night is basically kind of a fundraiser for Eddie's piece spaghetti, we're gonna do a super sucker song that Brian's gonna sing and he. Oh, man, he sounds so good. And then Alan Thompson's coming by and he's gonna sing some Grateful Dead with us.

        Sloane Spencer

        00:08:49.859 - 00:08:50.659

        That's fitting.

        Aaron Lee Tasjan

        00:08:50.739 - 00:09:49.980

        Yeah, totally. Yeah. So we're excited about that. And then we've got our special end of the end of the whole thing. Closer outers.

        Our good friend Kevin Kinney's gonna come sing the last one with us. So it should be a lot of fun.

        So it's kind of like a little Rolling Thunder review, you know, I Mean, it's nowhere near that good, but just people in the neighborhood, it's really fun to see.

        You know, I always loved, like, looking back through like, magazines, music magazines when I was a kid, you know, and it would just show, like these one time things that happen where all these people, like, just happened to be on stage together at some cool moment. And I don't know, I just feel like that kind of stuff is fun and like, totally forces me to consider different things creatively.

        You're working very closely with a bunch of other people who thing you really like respect and. Yeah, it's a great thing for a lot of reasons. For me, you know, I enjoy it on several levels.

        Sloane Spencer

        00:09:50.460 - 00:09:52.700

        So what's happening with the release of in the Blazes?

        Aaron Lee Tasjan

        00:09:53.100 - 00:10:30.850

        Well, there's a bunch of. Basically, there's a bunch of gigs. So there'll be a lot of that going on.

        I'll be in Washington state and then I gotta come run back to Nashville because I'm doing something for the very fine people over at Lightning 100. And then it's just like a bunch of gigs. I've got some stuff opening for Ray Wiley Hubbard and then some.

        Some stuff that I'm doing kind of on my own and then some gigs. What are you doing? Is a very intimidating question for me. And I've always. I've always tried to shy away from having to answer it.

        Sloane Spencer

        00:10:30.850 - 00:10:33.290

        I feel like, what's your aversion technique?

        Aaron Lee Tasjan

        00:10:35.870 - 00:11:50.300

        I don't know. I gotta mix it up. Because a lot I get asked that question more than probably some other people do. So I try to keep it fresh.

        So my answer always seems genuine. But change the subject is always a good one, especially if it's something really interesting.

        Yeah, I saw an episode of Seinfeld where I learned that when I was a kid. In the episode, Jerry was gonna get this girl's number off a charity list. And he was wrestling with the morality of that.

        And I think he ultimately decided to do it at]]>6007817c-2da1-4f83-822b-21dbe10ab51aFri, 12 Sep 2025 02:02:00 -040018:54truefull15231523Country Fried Rock 1522: Kevn Kinney of Drivin N Cryin Celebrates Induction into the Georgia Music Hall of FameSummary

        In this episode, we celebrate a big moment for Drivin n Cryin as they're inducted into the Georgia Music Hall of Fame, a well-deserved honor that recognizes their lasting impact on the music world. We're thrilled to welcome back Kevn Kinney, the band’s front man, who shares stories from their 30-year journey, touching on the creative partnerships and experiences that have shaped their sound. Kevn talks about the excitement around their upcoming performance at the Hall of Fame ceremony, as well as what the band has been up to lately. We also dig into their songwriting process and how their music has evolved over the years. Whether you’ve been a fan for decades or are just discovering them, this conversation offers a heartfelt look at the spirit and passion behind Drivin n Cryin's music.

        Show Notes

        In this special episode, we celebrate a major milestone for Drivin n Cryin, marking 30 years as a band and being inducted into the Georgia Music Hall of Fame. Highlights of the episode include:

        • A heartfelt conversation with Kevn Kinney, frontman of Drivin n Cryin, reflecting on the band’s journey and what these recent honors mean to them
        • Insights into the band’s evolution, staying true to their sound while navigating an ever-changing music landscape
        • The deep and lasting connection they've built with fans over the years
        • A look at how the band’s resilience and authenticity have kept their music meaningful and relevant
        
        

        The discussion also dives into:

        • The creative collaborations that have helped shape their sound, including work with respected producers and fellow musicians
        • The musical chemistry within the band and how it fuels experimentation without losing touch with their roots
        • The shared camaraderie and mutual respect among the band members and collaborators
        • Excitement about future performances and new music on the horizon
        
        

        This episode offers both a tribute to Drivin n Cryin’s past and an invitation to be part of their future. Whether you've been with them since the beginning or just discovering their music, it's a conversation full of inspiration, reflection, and anticipation.

        Here's What We Wrote Back in 2015

        Kevn Kinney of Drivin N Cryin has been a thread throughout my life in music, from teenage punk wannabe sneaking into clubs for shows (thanks, Randy!), to not getting hired at the first radio station I interviewed for because the program director told me he hated DNC and I defended them anyway (look who turned out to be right, Chris), to one of the very first radio shows on Country Fried Rock, before we had a podcast and were still streaming on Live 365, to now — me filling my dream of talking to the best songwriters about music I love and so many of y’all loving what we share. Kevn Kinney changed my life and now his band will be inducted into the Georgia Music Hall of Fame.

        Fangirl.

        Kevn Kinney is not stuck in the 1980s, though, and that is what makes his solo work interesting and also what keeps DNC vibrant. They are not a nostalgia band at all; in fact, their series of EP’s over the last couple of years, produced by Sadler Vaden (then, playing in DNC, now playing with Jason Isbell, but also a solid songwriter in his own right and his former band, Leslie), brought DNC to fresh territory and new audiences. I first learned about #CFRalum, Aaron Lee Tasjan, via Kevn, and Tasjan later played with the band for a while. (ALT also has a new album, In The Blazes.) Currently, Warner Hodges (solo, Jason & The Scorchers, Dan Baird) is bringing his guitar to the stage with the band.

        Collaborations are Kinney’s behind-the-scenes hallmark, regularly writing with his pal, Todd Snider, and upcoming recordings with Chuck Mead (BR-549). Just as Peter Buck gave Kinney new platforms to share his writing with MacDougal Blues, Kinney does the same for folks like Findlay Brown, The Everyothers, and Angie Aparo (who sings like an angel, y’all). Kinney has at least four other records coming out in the next twelve months, keeping fans and new listeners on their toes. Catch a show, solo, band, or the special “And Friends” sets — you will be in for a treat.

        Buy Drivin N Cryin or Kevn Kinney‘s music.

        Takeaways

        • This is a special moment, our first time welcoming back a songwriter to Country Fried Rock!
        • We catch up with Kevn Kinney, celebrating 30 years of Drivin n Cryin, a band that’s left a lasting mark on the music world.
        • We talk about the band’s recent induction into the Georgia Music Hall of Fame and what that milestone means to them.
        • Kevn shares how the band’s sound has evolved over the years, including how collaborations with other musicians have brought fresh energy to their music.
        • We highlight the power of community support, with a look at upcoming benefit shows helping fellow musicians in need.
        
        

        Chapters

        00:06 Celebrating Milestones in Music

        04:24 Exciting Developments in Country Fried Rock

        07:39 Celebrating Milestones in Music

        12:14 Emerging Artists and Special Events

        16:56 The Art of Live Performance

        Links

        • Drivin n Cryin
        • Kevn Kinney
        • Drivin n Cryin on Bandcamp
        • Kevn Kinney on Bandcamp
        • Check out the indie music documentary, Taking the City By Storm: the Birth of the Milwaukee Punk Scene
        • You might like this conversation with Aaron Lee Tasjan
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        • After you buy music or see a show, consider tossing your loose change into our Tip Jar
        
        

        Mentioned in this Episode

        • Drivin n Cryin
        • Georgia Music Hall of Fame
        • Aaron Lee Tasjan
        • Golden Palominos
        • Cafe Bustelo
        • Goodwill
        • Reverb Nation
        • Plowboy Records
        • Sin City Social
        • Guitar Town
        • The Basement East
        • Bottle Rockets
        • Eddie Spaghetti
        • Allen Thompson
        • Chuck Prophet
        • Tim Nielsen
        • Sadler Vaden
        • Warner Hodges
        • Jason and the Scorchers
        • Owen McCarthy
        • Every Others
        • Finley Brown
        • Ray Wiley Hubbard
        • Nancy Griffith
        • Jason Isbell
        • Todd Snider
        
        

        Recommended If You Like

        Country Fried Rock, Drivin n Cryin, Kevn Kinney, Georgia Music Hall of Fame, Americana music, songwriter interview, indie music podcast, Scarred but Smarter album, music collaboration, Aaron Lee Tasjan, 30th anniversary celebration, Southern rock, music history, live music events, EP releases, Nashville music scene, benefit concerts, music discovery, emerging artists, podcast for music lovers

        Transcript

        Speaker A

        00:00:00.160 - 00:00:13.760

        Jumping into a special week with Country Fried Rock. It's the first time we've ever revisited a songwriter. It's all for a special cause. Driving and Cryin's induction into the Georgia Music hall of Fame.

        Kevn kinney, celebrating the 30th anniversary of the band.

        Speaker B

        00:00:13.920 - 00:00:14.280

        Wow.

        Speaker A

        00:00:14.280 - 00:00:43.620

        Which makes me skip in high school for the release of that first record, Scarred but Smarter. Making me pretty old. Sure beats the alternative.

        We talked with Kevin Kenny a while back after his collaboration with Anton Fear and Golden Palominos on a good country mile, which is when he first turned us on to Aaron Lee Taschen. Well, got all kinds of mutual friends at this point. And we're going to talk about them in this special conversation.

        Kevin Kinney of Driving and Crying returns to Country Fried Rock. And I'm your host, Sloan Spencer.

        Speaker B

        00:00:43.620 - 00:00:48.780

        Hey, Sloan. Kevin Kinney in Brooklyn. I have to sit outside to talk on the phone because it's like Green Acres out here.

        Speaker C

        00:00:49.660 - 00:00:52.060

        There's no background noise. That's amazing.

        Speaker B

        00:00:52.220 - 00:00:53.820

        Well, I have a little garden.

        Speaker C

        00:00:53.820 - 00:00:54.620

        Oh, cool.

        Speaker B

        00:00:54.940 - 00:00:59.060

        Marm really is a rock. I've got my Caffeine Busello Keurig cup ready to.

        Speaker C

        00:00:59.060 - 00:00:59.900

        Ooh, I'm jealous.

        Speaker B

        00:00:59.900 - 00:01:02.940

        Oh, my God. Did you have a Keurig kit? I bought one at...]]>Summary

        In this episode, we celebrate a big moment for Drivin n Cryin as they're inducted into the Georgia Music Hall of Fame, a well-deserved honor that recognizes their lasting impact on the music world. We're thrilled to welcome back Kevn Kinney, the band’s front man, who shares stories from their 30-year journey, touching on the creative partnerships and experiences that have shaped their sound. Kevn talks about the excitement around their upcoming performance at the Hall of Fame ceremony, as well as what the band has been up to lately. We also dig into their songwriting process and how their music has evolved over the years. Whether you’ve been a fan for decades or are just discovering them, this conversation offers a heartfelt look at the spirit and passion behind Drivin n Cryin's music.

        Show Notes

        In this special episode, we celebrate a major milestone for Drivin n Cryin, marking 30 years as a band and being inducted into the Georgia Music Hall of Fame. Highlights of the episode include:

        • A heartfelt conversation with Kevn Kinney, frontman of Drivin n Cryin, reflecting on the band’s journey and what these recent honors mean to them
        • Insights into the band’s evolution, staying true to their sound while navigating an ever-changing music landscape
        • The deep and lasting connection they've built with fans over the years
        • A look at how the band’s resilience and authenticity have kept their music meaningful and relevant
        
        

        The discussion also dives into:

        • The creative collaborations that have helped shape their sound, including work with respected producers and fellow musicians
        • The musical chemistry within the band and how it fuels experimentation without losing touch with their roots
        • The shared camaraderie and mutual respect among the band members and collaborators
        • Excitement about future performances and new music on the horizon
        
        

        This episode offers both a tribute to Drivin n Cryin’s past and an invitation to be part of their future. Whether you've been with them since the beginning or just discovering their music, it's a conversation full of inspiration, reflection, and anticipation.

        Here's What We Wrote Back in 2015

        Kevn Kinney of Drivin N Cryin has been a thread throughout my life in music, from teenage punk wannabe sneaking into clubs for shows (thanks, Randy!), to not getting hired at the first radio station I interviewed for because the program director told me he hated DNC and I defended them anyway (look who turned out to be right, Chris), to one of the very first radio shows on Country Fried Rock, before we had a podcast and were still streaming on Live 365, to now — me filling my dream of talking to the best songwriters about music I love and so many of y’all loving what we share. Kevn Kinney changed my life and now his band will be inducted into the Georgia Music Hall of Fame.

        Fangirl.

        Kevn Kinney is not stuck in the 1980s, though, and that is what makes his solo work interesting and also what keeps DNC vibrant. They are not a nostalgia band at all; in fact, their series of EP’s over the last couple of years, produced by Sadler Vaden (then, playing in DNC, now playing with Jason Isbell, but also a solid songwriter in his own right and his former band, Leslie), brought DNC to fresh territory and new audiences. I first learned about #CFRalum, Aaron Lee Tasjan, via Kevn, and Tasjan later played with the band for a while. (ALT also has a new album, In The Blazes.) Currently, Warner Hodges (solo, Jason & The Scorchers, Dan Baird) is bringing his guitar to the stage with the band.

        Collaborations are Kinney’s behind-the-scenes hallmark, regularly writing with his pal, Todd Snider, and upcoming recordings with Chuck Mead (BR-549). Just as Peter Buck gave Kinney new platforms to share his writing with MacDougal Blues, Kinney does the same for folks like Findlay Brown, The Everyothers, and Angie Aparo (who sings like an angel, y’all). Kinney has at least four other records coming out in the next twelve months, keeping fans and new listeners on their toes. Catch a show, solo, band, or the special “And Friends” sets — you will be in for a treat.

        Buy Drivin N Cryin or Kevn Kinney‘s music.

        Takeaways

        • This is a special moment, our first time welcoming back a songwriter to Country Fried Rock!
        • We catch up with Kevn Kinney, celebrating 30 years of Drivin n Cryin, a band that’s left a lasting mark on the music world.
        • We talk about the band’s recent induction into the Georgia Music Hall of Fame and what that milestone means to them.
        • Kevn shares how the band’s sound has evolved over the years, including how collaborations with other musicians have brought fresh energy to their music.
        • We highlight the power of community support, with a look at upcoming benefit shows helping fellow musicians in need.
        
        

        Chapters

        00:06 Celebrating Milestones in Music

        04:24 Exciting Developments in Country Fried Rock

        07:39 Celebrating Milestones in Music

        12:14 Emerging Artists and Special Events

        16:56 The Art of Live Performance

        Links

        • Drivin n Cryin
        • Kevn Kinney
        • Drivin n Cryin on Bandcamp
        • Kevn Kinney on Bandcamp
        • Check out the indie music documentary, Taking the City By Storm: the Birth of the Milwaukee Punk Scene
        • You might like this conversation with Aaron Lee Tasjan
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        • After you buy music or see a show, consider tossing your loose change into our Tip Jar
        
        

        Mentioned in this Episode

        • Drivin n Cryin
        • Georgia Music Hall of Fame
        • Aaron Lee Tasjan
        • Golden Palominos
        • Cafe Bustelo
        • Goodwill
        • Reverb Nation
        • Plowboy Records
        • Sin City Social
        • Guitar Town
        • The Basement East
        • Bottle Rockets
        • Eddie Spaghetti
        • Allen Thompson
        • Chuck Prophet
        • Tim Nielsen
        • Sadler Vaden
        • Warner Hodges
        • Jason and the Scorchers
        • Owen McCarthy
        • Every Others
        • Finley Brown
        • Ray Wiley Hubbard
        • Nancy Griffith
        • Jason Isbell
        • Todd Snider
        
        

        Recommended If You Like

        Country Fried Rock, Drivin n Cryin, Kevn Kinney, Georgia Music Hall of Fame, Americana music, songwriter interview, indie music podcast, Scarred but Smarter album, music collaboration, Aaron Lee Tasjan, 30th anniversary celebration, Southern rock, music history, live music events, EP releases, Nashville music scene, benefit concerts, music discovery, emerging artists, podcast for music lovers

        Transcript

        Speaker A

        00:00:00.160 - 00:00:13.760

        Jumping into a special week with Country Fried Rock. It's the first time we've ever revisited a songwriter. It's all for a special cause. Driving and Cryin's induction into the Georgia Music hall of Fame.

        Kevn kinney, celebrating the 30th anniversary of the band.

        Speaker B

        00:00:13.920 - 00:00:14.280

        Wow.

        Speaker A

        00:00:14.280 - 00:00:43.620

        Which makes me skip in high school for the release of that first record, Scarred but Smarter. Making me pretty old. Sure beats the alternative.

        We talked with Kevin Kenny a while back after his collaboration with Anton Fear and Golden Palominos on a good country mile, which is when he first turned us on to Aaron Lee Taschen. Well, got all kinds of mutual friends at this point. And we're going to talk about them in this special conversation.

        Kevin Kinney of Driving and Crying returns to Country Fried Rock. And I'm your host, Sloan Spencer.

        Speaker B

        00:00:43.620 - 00:00:48.780

        Hey, Sloan. Kevin Kinney in Brooklyn. I have to sit outside to talk on the phone because it's like Green Acres out here.

        Speaker C

        00:00:49.660 - 00:00:52.060

        There's no background noise. That's amazing.

        Speaker B

        00:00:52.220 - 00:00:53.820

        Well, I have a little garden.

        Speaker C

        00:00:53.820 - 00:00:54.620

        Oh, cool.

        Speaker B

        00:00:54.940 - 00:00:59.060

        Marm really is a rock. I've got my Caffeine Busello Keurig cup ready to.

        Speaker C

        00:00:59.060 - 00:00:59.900

        Ooh, I'm jealous.

        Speaker B

        00:00:59.900 - 00:01:02.940

        Oh, my God. Did you have a Keurig kit? I bought one at Goodwill.

        Speaker C

        00:01:03.270 - 00:01:06.390

        I was kind of freaked out by the water. Living inside the machine.

        Speaker B

        00:01:07.110 - 00:01:09.750

        Oh, this is like a single cup. So you pour it in every time.

        Speaker A

        00:01:09.750 - 00:01:11.030

        Oh, now I could do that.

        Speaker B

        00:01:11.350 - 00:01:13.270

        Yeah, it was at Goodwill.

        Speaker C

        00:01:13.590 - 00:01:17.750

        Even better. Even better. Cafe Bustello.

        Speaker A

        00:01:17.750 - 00:01:18.470

        Can't go wrong there.

        Speaker B

        00:01:19.750 - 00:01:25.430

        I'm a fan of Cafe Bustelo. Cure cups now. It's really exciting.

        Speaker C

        00:01:25.590 - 00:01:26.190

        That is exciting.

        Speaker B

        00:01:26.190 - 00:01:27.750

        It's the small things that excite me.

        Speaker C

        00:01:27.750 - 00:01:30.550

        Listen, caffeine makes me happy every day, so. Yeah, I'll take it.

        Speaker B

        00:01:30.550 - 00:01:30.950

        Yeah.

        Speaker C

        00:01:31.510 - 00:01:33.950

        My guest today on Country Fried Rock is Kevn Kinney.

        Speaker A

        00:01:33.950 - 00:01:34.550

        Welcome back.

        Speaker B

        00:01:35.110 - 00:01:36.350

        How are you doing, Sloan?

        Speaker C

        00:01:36.350 - 00:01:40.830

        I'm great. I sure appreciate your time. I'm a fan girl. I admit it. Everybody knows that.

        Speaker B

        00:01:40.830 - 00:02:40.370

        Well, thank you. I'm pretty excited for us lately too. We've had a really good last four years.

        I mean, once we hooked up with Saddler Vaden, we just started making music. And you know, Sadler co wrote and co produced all of our eps that we had out and really rejuvenated the band.

        And then when he went off to play with Jason, you know, we had a great thing with Aaron Tashin on guitar for a while. Was out there in America selling himself. He's awesome folk singer. And now we have Warner Hodges from Jason Scorches. So it's like full circle.

        Just great energy. And we're having a lot of fun doing it. We are excited every time we get a gig booked, you know, we're like, oh, wow, that'll be fun.

        But we're excited. And then, you know, little the cream of the crop. You know, the Georgia Music hall of Fame thing is exciting for us.

        You know, it validates us, you know, validates our fans, that we have a lot of fans that are, like, cheering for the underdog. You know, people that like us, like John Daly, they like.

        Speaker C

        00:02:42.770 - 00:02:50.570

        You know, you also give a platform to folks like Sadler or Aaron or even Warner, who should be a household.

        Speaker B

        00:02:50.570 - 00:03:23.900

        Name, but is not quite yet arrangements of our songs. I mean, this is a little craft talk here.

        The arrangements of our songs are simple enough so that the people who do come to play with us can really shine. There's some songs that are, like, constructed that there's not a lot of place to jam in, like Hot Wheels or REM or some of those songs like that.

        There's not really any room to jam.

        But some of the songs, Waiting On Tomorrow and some of the newer stuff, there's enough Runway in there for them to really, depending on who I have, can really take off, you know. And Warner's been using every inch of that Runway. Man, he's amazing.

        Speaker C

        00:03:24.500 - 00:03:30.900

        Been keeping an eye on him for years of various Dan Baird projects and the Jason projects and his own work, of course.

        Speaker B

        00:03:31.380 - 00:04:07.780

        He's just one of these guys, too, that just gets better every year.

        And people say that, but, you know, the cruel part of this career that you have is the older you get, the better you get, because you can't help it, because you just keep practicing and you learn and you learn and you learn. But, you know, it's a young man's. It's a young man's game for publicity and things like that. So it's like drama crime.

        Was this good as it is now back in 1987, 88, when we made Whisper, if we were this good, we would have. We would have been almost as big as Cinderella.

        Speaker C

        00:04:13.860 - 00:04:14.300

        Hey, y'.

        Speaker A

        00:04:14.300 - 00:04:14.380

        All.

        Speaker C

        00:04:14.380 - 00:04:15.740

        Country fried rock has a few cool.

        Speaker A

        00:04:15.740 - 00:05:27.180

        New things going on that we've been teasing for a while.

        Pop on by countryfriderock.com, scroll down on the right hand side of the screen or just keep on scrolling if you're on Mob, that's down at the bottom. We're doing a quick listener survey. Find out a little more about what y' all want as we plan now for 2016.

        I know it seems so far away, but actually, we've Already got a very cool thing up our sleeves that will be happening while I'm in Nashville next month, so looking forward to that. Speaking of which, lots of Country Fried Rock alums are going to be playing Americana Fest in September and we'll be hanging out that week.

        Come on by and say hello. So I think I've teased it long enough.

        That super special fun thing we're going to be doing during Americana Week in Nashville is an official kickoff party with Sin Social and Guitar Town at the Basement east on Tuesday, September 15. Our headliners are the Bottle Rockets. We're doing a fundraiser for Eddie Spaghetti. Badge holders and wristband holders get in free.

        Five dollar donation at the door goes directly to help Eddie Spaghetti in kicking Cancer's tail. We'll see y' all there. 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.

        Speaker B

        00:05:28.040 - 00:05:32.200

        Hey, this is Kevn Kinney from Drivin n Cryin and you're listening to Country Fried Rock.

        Speaker C

        00:05:32.280 - 00:05:49.720

        You mentioned a little bit about the songs off of those eps. When we last talked, it was right after Great American Bubble Factory. And so these eps had not quite rolled around yet.

        From a fan perspective, I thought keeping the concept tight and short with those eps was cool. But then I liked how they made a series and then now there's this vinyl on Plowboy.

        Speaker B

        00:05:50.200 - 00:07:03.330

        Well, you know, be aware of your surroundings. That's what I always tell my kids. Like, look and see where you are. What are you doing?

        When I look around me, I see people downloading songs and making their own playlists. So I was like, well, I'm going to stop making them their playlist. I'm going to make them the A and R person.

        I'm going to give them the 20 songs, 25 songs that I would have given to, like, Kim Bowie, our A and R person. I would have given her 25 songs and then she would have picked nine. That would have been on Whisper Tim's lion or 10. You do that.

        You know, what 10 would you pick to make on Earth? The ones I picked, I made onto an album that's.

        I wanted to do an album and it's only available on the album because it's, it's my, you know, what would my record be if I made it from all these eps? And that's what I did.

        But that's why I encourage everyone to go home and make their own if you own all four eps, make your own ep, you know, and see what you would have done and, you know, give it a title. Do a cover. Send it. Send it in. You know, we'll do a contest or something. Best album, and you come up with your. You can design an album cover.

        I designed two of those covers on my phone on this thing called Fonto Cool. And another app called Psychotropic or something like that. I did, Yeah. I did two of those album covers on my phone.

        Speaker C

        00:07:03.330 - 00:07:03.970

        That's good.

        Speaker B

        00:07:03.970 - 00:07:04.930

        Laying in bed.

        Speaker C

        00:07:05.890 - 00:07:07.530

        That album cover reminds me of, like.

        Speaker A

        00:07:07.530 - 00:07:10.210

        Waiting for the K Tel compilations to arrive.

        Speaker B

        00:07:10.689 - 00:07:29.200

        Yeah, yeah. The album. I sent those albums. I didn't. That one I did not do. I did do all the pre work on the. In bed, though.

        I sent the art director, like, a dozen different K Tel records. I said, I want it to look like the K Tel record. He's like, oh, I have this amazing graphic designer. So he's like, got it. Love it.

        Speaker C

        00:07:29.440 - 00:07:39.319

        I knew about the 30th anniversary of the band, which is making me feel old, but in a good way. And then right after, I guess, I found out about the Georgia Music hall of Fame. Y' all got a ton going on.

        Speaker A

        00:07:39.319 - 00:07:40.480

        How did all of this roll around?

        Speaker B

        00:07:41.120 - 00:07:52.320

        Do people love the anniversaries? I'm not a big anniversary guy because everyone's been around 30 years. It used to be a much bigger deal.

        Like, remember when Sergeant Pepper was, like, 25 years old?

        Speaker C

        00:07:52.320 - 00:07:53.120

        Holy cow. Yeah.

        Speaker B

        00:07:53.740 - 00:08:08.060

        Oh, Pepper's 25 now. It's like, who isn't around 30 years? You know what I mean? It's something to celebrate.

        But when you do celebrate 33 and a third, that would be an anniversary at, like, 33 and a third. Well, I appreciate it. Which one? Scarlet. Smarter.

        Speaker C

        00:08:08.060 - 00:08:08.700

        Scarborough.

        Speaker B

        00:08:08.780 - 00:08:10.300

        You know, garbage smarter. Be the better one.

        Speaker C

        00:08:10.300 - 00:08:10.700

        Yeah.

        Speaker B

        00:08:10.780 - 00:08:17.380

        And then Whisper came out, and you...]]>96a11462-db2e-4605-8761-57d23d61cf25Fri, 12 Sep 2025 02:02:00 -040019:02truefull15221522Country Fried Rock 1519: Justin Townes Earle Explains Companion Albums 'Single Mothers' and 'Absent Fathers'NOTE: Justin Townes Earle died from an accidental drug overdose on 8/20/2020. If you are struggling with addiction, no matter how many times you have tried to quit, you are worth a million more fresh starts. Reach out to MusiCares, the Sims Foundation, Nuci's Space, Backline, HAAM, Porter's Call, or your local substance abuse support centers. We grieve for Justin's loved ones these many years later.

        This podcast was taken from a live radio interview with fellow radio host, Mike Allen.

        Summary

        In this episode, Justin Townes Earle opens up about the personal and creative journeys behind his companion albums, Single Mothers and Absent Fathers. A Nashville native, Earle talks about how his move from Bloodshot Records to Vagrant brought both challenges and growth, offering a fresh perspective on his evolving career. We explore the contrast between his Southern roots and his time in New York City, and how those places have shaped his sound and identity as an artist. Throughout the conversation, Earle shares his approach to songwriting, blending personal stories with universal themes, and emphasizes how important honesty and emotional depth are to his music. It’s a candid, thoughtful look at the way life, place, and experience come together in his work.

        Episode Highlights

        • In this episode, we sit down with acclaimed musician Justin Townes Earle for a thoughtful conversation about his companion albums, Single Mothers and Absent Fathers.
        • Earle shares the life experiences that have shaped his music, from growing up in Nashville to spending time in New York City, and how those places influenced his perspective.
        • We talk about the emotional and cultural themes woven into his songs, especially how they reflect the complexities of Southern identity and personal history.
        • Earle offers insight into his songwriting process, stressing the importance of honesty and emotional depth in creating music that truly connects with listeners.
        • He also reflects on how his sound has evolved over the years, balancing tradition with growth and change.
        • This conversation goes beyond the music, touching on the deeper stories and cultural commentary that make his work so compelling.
        
        

        Here's What We Wrote Back in 2015

        Justin Townes Earle ended up moving to Vagrant Records and surprised his fans with not one, but two, new albums within a year. The companion pieces, Single Mothers and Absent Fathers, are not concept records, but complimentary, as he describes, “like the two parts of Springsteen’s The River.” Our conversation w/ Earle was conducted live in the studio of a radio station in Columbia, SC, that my friend, Mike Allen, was kind enough to include me, knowing that I am a fan. The format differs from our typical conversations, but we have the pleasure of better quality audio because of the studio. Enjoy!

        Takeaways

        • In this episode, we talk with Justin Townes Earle about the personal and creative threads connecting his albums Single Mothers and Absent Fathers.
        • Justin shares how his life experiences have shaped his songwriting and how he continues to grow and learn as an artist.
        • We explore the rich cultural landscape of the American South and how its musical traditions have influenced his sound and storytelling.
        • The conversation also touches on the differences between Nashville and New York, and how each place has left its mark on his creative process and musical direction.
        
        

        Links

        • Justin Townes Earle
        • Justin Townes Earle on Bandcamp
        • You may also like our podcast with Steve Earle
        • 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
        
        

        Mentioned in this Episode

        • Vagrant
        • Bloodshot Records
        • Communion Records
        • Centromatic
        
        

        Recommended If You Like

        Country Fried Rock, Justin Townes Earle, Vagrant Records, Single Mothers album, Absent Fathers album, Nashville music scene, Southern Americana music, live interviews podcast, songwriting process, musical contrasts, indie music, country music influences, music evolution, record label challenges, autobiographical songwriting, performance dynamics, Southern culture, music competitions, audience engagement, music industry insights

        Transcript

        Speaker A

        00:00:00.240 - 00:00:47.080

        Welcome to Country Fried Rock. This week we're talking with Justin Towns Earl. Over the last year or so, he's released a couple of new records from his current label, Vagrant.

        First Single Mothers and then Absent Fathers. Not exactly a double album. More like companion albums.

        Speaking of companions, this is the first time we've done a live in studio interview for Country Fried Rock. I was hanging out in Columbia, South Carolina at a radio station with my friend Mike Allen.

        And Mike knew that I'm a fan of Justin's, so he invited me into the station and let me sit in on part of this interview. I held onto this for a while because of the different format, but it's a great conversation so we're going to go ahead and share it.

        A slightly different format for Country Fried Rock with Justin Towns Earl.

        Speaker B

        00:00:47.560 - 00:00:53.320

        I'm Justin Towns Earl and I'm from Nashville, Tennessee. Actually. Born and raised there. Rare thing.

        Speaker C

        00:00:53.760 - 00:00:56.520

        Okay. And our friend Sloan, tell her about who you are.

        Speaker D

        00:00:56.520 - 00:01:03.040

        Oh, hey, I'm Sloan Spencer. I host Country Fried Rock. I'm originally from Atlanta, but I currently live in Back Swamp, South Carolina.

        Speaker B

        00:01:03.200 - 00:01:03.680

        Yeah.

        Speaker C

        00:01:03.680 - 00:01:11.920

        And welcome to the big city. You mentioned Nashville. I was reading a little bit background for this. You're living in New York now?

        Speaker B

        00:01:12.160 - 00:01:41.550

        Well, I had been living in New York. Some family things. I had to do some things for my mother.

        So it made good sense at the time to go where it's a little cheaper so I could, you know, do those things. And I definitely miss New York in a. In a big way. But I have a feeling that if I hadn't left, I.

        Well, I wouldn't have met my wife probably, which would have been. I'd still be continuing on my lethargic, very disappointed in life way.

        Speaker C

        00:01:42.830 - 00:01:54.250

        It's a hard way to look at it, I guess. Different places bring out, I think, different sounds for artists. What did. Is there a difference between Nashville and New York for you, sonically?

        Does it do anything to the writing?

        Speaker B

        00:01:54.490 - 00:02:34.280

        It does. I think I had a. New York was so inspiring.

        There was just songs came in a bit more of a flood there because you were just surrounded by all these intense things. You just have people that are the best at what they do and it's constant competition. You can be gone tomorrow.

        And even working in a clothing store in New York, you know, so there was very much. The people that you're around aren't. You're not going to say like how you doing to somebody?

        And they're going to be like, well, I don't have a job and I'm sitting Around the apartment and I'm doing this. Everybody's like, well, I got this going on and I'm doing this. Or I'm trying to do this. And it's a very interesting place to live for that reason.

        Speaker C

        00:02:35.000 - 00:02:35.640

        Slow.

        Speaker D

        00:02:35.880 - 00:02:48.520

        Well, it's interesting. You just actually did something that was. One of my questions was you're animated and up tempo when talking about some pretty serious content.

        And I see that or hear that at least in a lot of your songs as well. How do you express that contrast?

        Speaker B

        00:02:49.250 - 00:03:47.490

        A lot of my fans do find they think that my songs are very autobiographical and things like that, which they're not so much.

        I definitely know what I'm talking about because I think that's the first rule to songwriting is know at least have your interpretation of the feelings the. That you're going for. But, you know, I think that I don't know the. I think if I'm confused every time I make a record and I always.

        I don't think I want to get to the day where I don't question...]]>NOTE: Justin Townes Earle died from an accidental drug overdose on 8/20/2020. If you are struggling with addiction, no matter how many times you have tried to quit, you are worth a million more fresh starts. Reach out to MusiCares, the Sims Foundation, Nuci's Space, Backline, HAAM, Porter's Call, or your local substance abuse support centers. We grieve for Justin's loved ones these many years later.

        This podcast was taken from a live radio interview with fellow radio host, Mike Allen.

        Summary

        In this episode, Justin Townes Earle opens up about the personal and creative journeys behind his companion albums, Single Mothers and Absent Fathers. A Nashville native, Earle talks about how his move from Bloodshot Records to Vagrant brought both challenges and growth, offering a fresh perspective on his evolving career. We explore the contrast between his Southern roots and his time in New York City, and how those places have shaped his sound and identity as an artist. Throughout the conversation, Earle shares his approach to songwriting, blending personal stories with universal themes, and emphasizes how important honesty and emotional depth are to his music. It’s a candid, thoughtful look at the way life, place, and experience come together in his work.

        Episode Highlights

        • In this episode, we sit down with acclaimed musician Justin Townes Earle for a thoughtful conversation about his companion albums, Single Mothers and Absent Fathers.
        • Earle shares the life experiences that have shaped his music, from growing up in Nashville to spending time in New York City, and how those places influenced his perspective.
        • We talk about the emotional and cultural themes woven into his songs, especially how they reflect the complexities of Southern identity and personal history.
        • Earle offers insight into his songwriting process, stressing the importance of honesty and emotional depth in creating music that truly connects with listeners.
        • He also reflects on how his sound has evolved over the years, balancing tradition with growth and change.
        • This conversation goes beyond the music, touching on the deeper stories and cultural commentary that make his work so compelling.
        
        

        Here's What We Wrote Back in 2015

        Justin Townes Earle ended up moving to Vagrant Records and surprised his fans with not one, but two, new albums within a year. The companion pieces, Single Mothers and Absent Fathers, are not concept records, but complimentary, as he describes, “like the two parts of Springsteen’s The River.” Our conversation w/ Earle was conducted live in the studio of a radio station in Columbia, SC, that my friend, Mike Allen, was kind enough to include me, knowing that I am a fan. The format differs from our typical conversations, but we have the pleasure of better quality audio because of the studio. Enjoy!

        Takeaways

        • In this episode, we talk with Justin Townes Earle about the personal and creative threads connecting his albums Single Mothers and Absent Fathers.
        • Justin shares how his life experiences have shaped his songwriting and how he continues to grow and learn as an artist.
        • We explore the rich cultural landscape of the American South and how its musical traditions have influenced his sound and storytelling.
        • The conversation also touches on the differences between Nashville and New York, and how each place has left its mark on his creative process and musical direction.
        
        

        Links

        • Justin Townes Earle
        • Justin Townes Earle on Bandcamp
        • You may also like our podcast with Steve Earle
        • 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
        
        

        Mentioned in this Episode

        • Vagrant
        • Bloodshot Records
        • Communion Records
        • Centromatic
        
        

        Recommended If You Like

        Country Fried Rock, Justin Townes Earle, Vagrant Records, Single Mothers album, Absent Fathers album, Nashville music scene, Southern Americana music, live interviews podcast, songwriting process, musical contrasts, indie music, country music influences, music evolution, record label challenges, autobiographical songwriting, performance dynamics, Southern culture, music competitions, audience engagement, music industry insights

        Transcript

        Speaker A

        00:00:00.240 - 00:00:47.080

        Welcome to Country Fried Rock. This week we're talking with Justin Towns Earl. Over the last year or so, he's released a couple of new records from his current label, Vagrant.

        First Single Mothers and then Absent Fathers. Not exactly a double album. More like companion albums.

        Speaking of companions, this is the first time we've done a live in studio interview for Country Fried Rock. I was hanging out in Columbia, South Carolina at a radio station with my friend Mike Allen.

        And Mike knew that I'm a fan of Justin's, so he invited me into the station and let me sit in on part of this interview. I held onto this for a while because of the different format, but it's a great conversation so we're going to go ahead and share it.

        A slightly different format for Country Fried Rock with Justin Towns Earl.

        Speaker B

        00:00:47.560 - 00:00:53.320

        I'm Justin Towns Earl and I'm from Nashville, Tennessee. Actually. Born and raised there. Rare thing.

        Speaker C

        00:00:53.760 - 00:00:56.520

        Okay. And our friend Sloan, tell her about who you are.

        Speaker D

        00:00:56.520 - 00:01:03.040

        Oh, hey, I'm Sloan Spencer. I host Country Fried Rock. I'm originally from Atlanta, but I currently live in Back Swamp, South Carolina.

        Speaker B

        00:01:03.200 - 00:01:03.680

        Yeah.

        Speaker C

        00:01:03.680 - 00:01:11.920

        And welcome to the big city. You mentioned Nashville. I was reading a little bit background for this. You're living in New York now?

        Speaker B

        00:01:12.160 - 00:01:41.550

        Well, I had been living in New York. Some family things. I had to do some things for my mother.

        So it made good sense at the time to go where it's a little cheaper so I could, you know, do those things. And I definitely miss New York in a. In a big way. But I have a feeling that if I hadn't left, I.

        Well, I wouldn't have met my wife probably, which would have been. I'd still be continuing on my lethargic, very disappointed in life way.

        Speaker C

        00:01:42.830 - 00:01:54.250

        It's a hard way to look at it, I guess. Different places bring out, I think, different sounds for artists. What did. Is there a difference between Nashville and New York for you, sonically?

        Does it do anything to the writing?

        Speaker B

        00:01:54.490 - 00:02:34.280

        It does. I think I had a. New York was so inspiring.

        There was just songs came in a bit more of a flood there because you were just surrounded by all these intense things. You just have people that are the best at what they do and it's constant competition. You can be gone tomorrow.

        And even working in a clothing store in New York, you know, so there was very much. The people that you're around aren't. You're not going to say like how you doing to somebody?

        And they're going to be like, well, I don't have a job and I'm sitting Around the apartment and I'm doing this. Everybody's like, well, I got this going on and I'm doing this. Or I'm trying to do this. And it's a very interesting place to live for that reason.

        Speaker C

        00:02:35.000 - 00:02:35.640

        Slow.

        Speaker D

        00:02:35.880 - 00:02:48.520

        Well, it's interesting. You just actually did something that was. One of my questions was you're animated and up tempo when talking about some pretty serious content.

        And I see that or hear that at least in a lot of your songs as well. How do you express that contrast?

        Speaker B

        00:02:49.250 - 00:03:47.490

        A lot of my fans do find they think that my songs are very autobiographical and things like that, which they're not so much.

        I definitely know what I'm talking about because I think that's the first rule to songwriting is know at least have your interpretation of the feelings the. That you're going for. But, you know, I think that I don't know the. I think if I'm confused every time I make a record and I always.

        I don't think I want to get to the day where I don't question whether my record is good. And, you know, every night on stage, I typically. I turn to Paul, my guitar player, and be like, is everything like rhythm okay?

        And all this because I don't think that it is a very good thing to be, I'm sure myself as far as a performer and I mean as a writer, but I just don't think that it's. To be an artist, you can't know everything. You gotta still have stuff to learn, I think.

        Speaker A

        00:03:47.890 - 00:04:06.650

        Hey, y', all, this is Sloane 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. Here's more from my live in studio conversation with Justin Towns.

        Speaker C

        00:04:06.650 - 00:04:15.630

        Earl, I've seen a couple of pieces where you've described your music. Instead of putting it in another sort of label, you would describe it as Southern America. What is Southern American?

        Speaker B

        00:04:16.510 - 00:05:22.580

        Well, basically, with the exception of some forms of music today. Well, and still kind of every bit of American music, popular music, with the exception of hip hop and things like that, came the ideas.

        The starting point of it was all in the Southeast, where you have mountain music coming from.

        The Scotch Irish that settled in this region and up in North Carolina, bluegrass from Flatland, Kentucky and the West Nashville with country Memphis, you know, you have jazz and New Orleans and then the Delta and everything comes together at Memphis and becomes rock and roll. So I think Southerners should And if they try should have a better connection to that because it's in. We understand the language a little bit better.

        We can they Talk Like we do, which was a number.

        Like when I heard Woody Guthrie for as an example, I realized that I could do this because I realized that I could actually sing better than Woody Guthrie. So I decided that it was. I could at least try.

        Speaker D

        00:05:23.060 - 00:05:38.740

        I'm always interested in the contrast and like my previous question as well. But as a Southerner, I think we kind of live with and accept contrasts as part of who we are and what we do.

        I'm noticing a little bit more of the Southern contrasts coming out in these last two records especially specifically.

        Speaker B

        00:05:39.060 - 00:08:08.170

        Yeah, I. I feel like that we have in the south and then some places like Louisiana especially, we have the most distinct culture in America. Our nobody has the huge difference in food. Nobody has the huge difference in culture. And it's.

        It's a completely different world and very alien to the rest of the United States. A lot of misconceptions and we had a lot of misconceptions about the north, but the, the south has always been. It's always been home.

        I do feel very comfortable in the. In the south and I think that it's.

        I stayed away from kind of a lot of Southern mentality, a lot of Southern imagery for a while because I didn't want to be just labeled a Southern musician. I didn't want to be. I didn't want to get stuck in that old timey country thing.

        I made my first record, the Good Life and it taught me a lot of things because I especially as far as contrast goes, because the contrast between my crowd when I put out the Good Life and now just in who gathers is. I mean, I noticed that I was going to have the Grand Ole Opry crowd, I was going to have an older crowd.

        And let's face it, nobody needs a crowd that's going to die in 20 years. So that's, you know, I started because of that. I was completely disappointed when I did the Grand Ole Opry. I found it very.

        Just mechanical and strange. And so I knew I didn't want to be a part of that world. I wanted. I wanted a younger audience. And I do have a vast. I mean, what comes to the.

        I have entire families of father, son and mother that come to the show. I have, you know, girls that at least look like they're 18 to 25 and then middle aged couples. And so it's very much a scattered crowd.

        And also something that that contrast is. I'M very proud of it because, you know, that's a very wide reaching kind of audience there. You know, not like I draw gigantic crowds or anything.

        It's just the contrast between those. This crowd is. It's incredible. And it's helped me change what I do because the crowd's gone along with me.

        I'm sure I've lost a lot of the fans from the first record. And, you know, and that's fine. I only off all the right people, I feel. And so that's.

        Speaker C

        00:08:08.170 - 00:08:09.130

        That's a goal in life.

        Speaker B

        00:08:10.650 - 00:08:59.050

        And so, yeah, I think that that's the South. And making sure that there is a fairly vast contrast between my previous records and the new ones is very, very important to what I do.

        You don't want to ask. Ever be asking yourself the question, is this art? You know, I don't think so.

        In order to do that, you have to pay respect to the past and gather what you want from your current. Let's play today in a Lonely Night. It's a.

        It's become one of my favorite songs to play and one of those things again where I think I'm lucky that I have a crowd that will. That will listen to things like this. And you won't. You won't. Well, most of the time it won't.

        You won't really hear a sound unless it's a free show in Merrill's Inlet.

        Speaker A

        00:09:00.890 - 00:09:37.510

        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 I'm Sloane Spencer, your host of Country Fried Rock.

        I've had the pleasure of catching Justin Towns Earl perform both solo duo and with a full band over the last couple of years. And I recommend you catch one of his shows. Here's more from my live in studio conversation with Justin Towns. Earl.

        Speaker C

        00:09:37.910 - 00:09:46.320

        This dichotomy here, and they. They actually look dramatically different. Tell me about what used to be a double album became two single albums.

        Speaker B

        00:09:46.560 - 00:11:47.360

        I thought better of the situation that I was in. I'd gone from Bloodshot Records, which was a great relationship. They were as stand up as you can be.

        When they said the check was coming, the check showed up, things like that, which is hard to find. And then I went to Communion Records, which I was told something completely different from what they tried to do when I had signed the contract.

        Luckily, they didn't sign it. And I was able to just be like, you know, you're not gonna shake money in my face and win.

        You know, there's no way that's gonna work, you know, and anybody who knows me knows that. So. There was also a time. There was a timing issue. Releasing a double record is hard to convince people of. It's hard to get people these days to.

        They don't have the time to sit down and listen to a full hour of music, you know, and they don't have the attention span, I don't think. And from the very beginning, I like when I made the Good Life. I actually looked up what the average commute for an American to work was.

        And so therefore all my records have been 30 to 40 minutes. That's what I've noticed. Most people listen to music is in their car and just making the records digestible, letting people get really in use to the.

        The record, the first one. And if they pay attention to the first one, then Absent Fathers comes out. And they're very.

        They are related, but related in the same way that both discs of the river are Springsteen's the river because it's. They're not like concept records exactly, but they have loose concepts to them. The characters in Absent Fathers are definitely in a different.

        A better place, a different place.

        Not discouraged by life, realizing that they're seeing a light at the end of the tunnel, even though it's like the tip of a ballpoint pen way off in the distance.

        Speaker D

        00:11:47.920 - 00:12:00.400

        We've been talking about all these contrasts and dichotomy in the double album that became two separate albums. I have been interested in the continuity of your album covers. Are you involved in the visual art decision making?

        Because didn't Joshua do some of your photography?

        Speaker B

        00:12:01.130 - 00:13:01.970

        Yeah, he did, but I'm 100% part of the creation of them. We decided me and Joshua were, like, trying to figure out what a record cover we should do. And we'd thrown out a bunch of ideas.

        And I said, well, what about just me and a girl on the album cover? And we carried that on for quite a while, every record. But now my wife is on the COVID of Absent Fathers with me, and she will be the last.

        The last woman on the COVID of one of my records. But it was an interesting thing to do for the fans in a minor way. They became like Bond girls. People were very interested in who these women were.

        And so it was a funny thing we realized when we made the Next Midnight at The movies that we were just like, we're gonna do this every time. I would have probably continued it if I hadn't gotten married.

        Speaker C

        00:13:02.370 - 00:13:07.570

        You mentioned past troubles with record companies. The relationship with Vagrant feels good.

        Speaker B

        00:13:07.890 - 00:14:02.730

        Vagrant feels good. It's impressive to be able to survive, to have been able to survive the 90s and early 2000s as a smaller record...]]>3ce72614-a7eb-404c-b216-345ae85975abFri, 05 Sep 2025 02:02:00 -040022:09truefull15191519Country Fried Rock 1514: Lilly Hiatt Unveils Royal Blue & Journeys Beyond FolkSummary

        Lilly Hiatt’s album, Royal Blue, marks an exciting step forward in her musical journey, moving beyond the traditional singer-songwriter style into a sound that’s more vibrant and adventurous. In this podcast, we explore how Hiatt taps into her personal insecurities and turns them into powerful, relatable songs that resonate with listeners. She also opens up about life on the road, sharing what it’s like to perform both solo and with a band. Royal Blue stands out for its mix of humor and heartfelt reflection, tackling life’s ups and downs with honesty and charm. Through our conversation with Hiatt, it’s clear that she’s an artist in constant evolution, and we can’t wait to see where her music takes her next.

        Episode Highlights

        • Host Sloane Spencer sits down with talented singer-songwriter Lilly Hiatt to talk about her second album, Royal Blue, released on Normal Town Records.
        • Royal Blue marks a shift in Hiatt’s sound, moving away from the folk-centered vibe of her debut and embracing a more dynamic, indie-rock feel.
        • The conversation dives into the personal themes behind the album, including Hiatt’s reflections on insecurity, growth, and the creative journey that shaped each song.
        • Hiatt shares what touring has been like, from playing solo shows to performing with a full band, and how those experiences have influenced her connection with audiences.
        • She talks about how much she’s grown since her first album, and how life’s twists and turns have shaped her songwriting and artistic voice.
        • The episode also explores her collaboration with producer Adam Landry and her band, who helped bring the sound of Royal Blue to life.
        • Hiatt opens up about the importance of community, praising the support and creativity of fellow musicians in the Nashville scene.
        • Listeners get a behind-the-scenes look at the music-making process, the stories behind the songs, and what it means to keep evolving as an artist.
        
        

        Chapters

        • 00:03 - Introducing Lilly Hiatt and Her New Album
        • 05:58 - The Journey of Songwriting: From Idea to Album
        • 13:24 - The Creative Balance: Ego and Self-Doubt in Music
        • 14:15 - The Creative Process: Writing on the Road
        • 19:51 - Transitioning to Royal Blue: The New Album
        
        

        Here's What We Wrote Back in 2015

        Lilly Hiatt released Royal Blue, to the surprise of fans of her singer-songwriter styled debut a couple years ago. For those who have seen her live with her band, though, Royal Blue comes closer to catching Hiatt’s quirky, reflective, trippy sensibility and personality. Royal Blue moves forward, demonstrating her growth as an artist in her own right, finding her path, and doing so her way. With an honest, open discussion of the self-doubt necessary to create art and some songwriters who are catching her ear, Lilly Hiatt shares who she is in this conversation.

        Takeaways

        • In this episode, we dive into Lilly Hiatt’s artistic growth and the making of her latest album, Royal Blue.
        • Hiatt shares how her sound and songwriting have evolved since her debut, showing just how much she’s grown as an artist.
        • We talk about her creative process, from writing songs to working closely with other musicians.
        • Hiatt also opens up about life on tour and what it’s like to connect with audiences, whether she’s playing solo or with a full band.
        
        

        Links

        • Lilly Hiatt
        • Lilly Hiatt on Bandcamp
        • You may also enjoy our conversation with Aaron Lee Tasjan
        • 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
        
        

        Bands and Musicians Mentioned in this Episode

        • Deer Tick
        • Diamond Rugs
        • Buxton
        • Aaron Lee Tasjan
        • Margo Price
        
        

        Recommended If You Like

        Lilly Hiatt, Royal Blue album, Country Fried Rock podcast, singer songwriter, Normal Town Records, Nashville music scene, touring musicians, creative process in songwriting, live acoustic performances, album art design, music collaboration, indie music interviews, songwriting inspiration, emerging artists in Nashville, analog recording, personal music journey, songwriting challenges, music production techniques, humor in songwriting, music career evolution, Normaltown

        Transcript

        Speaker A

        00:00:00.160 - 00:00:32.940

        Welcome to Country Fried Rock. I'm your host, Sloane Spencer. This week, I'm talking with Lily Hyatt about her recent album Royal Blue, available now on Normal Town Records.

        Hyatt's debut album was strongly in the singer songwriter camp, and her sophomore release takes her much more in the direction of her live shows. No folky coffee shop barista right here. Lily Hyatt is channeling her creative insecurity and taking her songs one step further.

        Expect a lot more to come from Lily Hyat Fried Rock.

        Speaker B

        00:00:33.100 - 00:00:44.540

        My guest today on Country Fried Rock is Lily Hyatt, who I've been tracking down for the past couple of records, but her most recent one is Royal Blue, out now on Normal Town Records. Welcome.

        Speaker C

        00:00:44.860 - 00:00:46.460

        Hey. Thank you for having me.

        Speaker B

        00:00:46.700 - 00:00:55.340

        Yay. So I'm very excited to get to finally chat with you. I've seen you live once, solo acoustic situation quite a while ago, well before this album.

        Speaker C

        00:00:55.740 - 00:01:09.650

        Wow. Okay, cool. Well, hopefully you'll see me again sometime with the band. I'm always wondering when people say that. I'm like, oh, when was it?

        You know how you always think, well, it's better now. It's better now. So that is how it goes.

        Speaker B

        00:01:09.810 - 00:01:13.410

        Well. All right. So Royal Blue's been out for a while. What have you been up to with it?

        Speaker C

        00:01:13.569 - 00:01:27.150

        Well, been on the road for about a month.

        I just got back a few days ago to Nashville, so I'm just getting in the swing with being back in town and prepping for summer and seeing what kind of stuff comes up.

        Speaker B

        00:01:27.470 - 00:01:29.230

        Were you touring solo or with a band?

        Speaker C

        00:01:29.390 - 00:01:54.930

        I did some stuff with a band we went to south by, which was really fun, and then I did a lot of stuff as a duo. So me and guitar player, so we were out on the west coast, and that was fun and presents some odd challenges, but in the best of ways.

        So the band stuff's easy, but the solo duo, that stuff gets a little trickier in terms of engaging people.

        Speaker B

        00:01:54.930 - 00:01:59.090

        You know, songs obviously change when you're having to have a different kind of setup like that.

        Speaker C

        00:01:59.330 - 00:02:13.970

        They totally change.

        And kind of trying to figure out how to maintain the essence of the record yet rework it so that it's conducive to that kind of format, is it's a process, but it's fun, so I enjoy it.

        Speaker B

        00:02:14.530 - 00:02:27.270

        I guess I first got to know about you just before the previous record came. Came out, and you have had a ton of professional changes in the meantime. What started with you making your own music?

        Speaker C

        00:02:28.150 - 00:04:16.230

        Well, I think that I have always kind of had that as the goal, I mean, I went to college and studied. I didn't study music in college, but I still had the mindset of, but I'm going to play music. So I suppose it became something that was the focus of.

        I'm really going to try going for this. When I moved back to Nashville after college, so that was. Sadly, it was longer than I'd like to admit.

        I think it was like nine years ago or something like that. I don't know, I'd say 2006.

        But you know, in the meantime, I've worked a lot of different jobs, mainly coffee shop type things and, you know, kind of been chipping away for a little bit at this. So when I made that first record, it was 2012 and it took about a year to make it. So maybe we got started on that 2011. Ish.

        Oh God, that was a while ago. But I had songs and I'd done a little EP and I'd done some recording. My dad had a studio and I'd done some recording with him.

        And then I decided I need a whole record so I can put it out there. I kind of talked to him about producing it and he was like, why don't you talk to my friend Doug about that? Because I don't think he didn't want to.

        I just think he wanted me to kind of find my own way with that. And I ended up talking to Doug Lancio and he was really willing to work with me.

        And over time I was able to, and through the kindness of my bandmates and different people willing to work with me at a pre budget price, I was able to make that record and pay for it, you know, and then that became something. That was my first piece...]]>Summary

        Lilly Hiatt’s album, Royal Blue, marks an exciting step forward in her musical journey, moving beyond the traditional singer-songwriter style into a sound that’s more vibrant and adventurous. In this podcast, we explore how Hiatt taps into her personal insecurities and turns them into powerful, relatable songs that resonate with listeners. She also opens up about life on the road, sharing what it’s like to perform both solo and with a band. Royal Blue stands out for its mix of humor and heartfelt reflection, tackling life’s ups and downs with honesty and charm. Through our conversation with Hiatt, it’s clear that she’s an artist in constant evolution, and we can’t wait to see where her music takes her next.

        Episode Highlights

        • Host Sloane Spencer sits down with talented singer-songwriter Lilly Hiatt to talk about her second album, Royal Blue, released on Normal Town Records.
        • Royal Blue marks a shift in Hiatt’s sound, moving away from the folk-centered vibe of her debut and embracing a more dynamic, indie-rock feel.
        • The conversation dives into the personal themes behind the album, including Hiatt’s reflections on insecurity, growth, and the creative journey that shaped each song.
        • Hiatt shares what touring has been like, from playing solo shows to performing with a full band, and how those experiences have influenced her connection with audiences.
        • She talks about how much she’s grown since her first album, and how life’s twists and turns have shaped her songwriting and artistic voice.
        • The episode also explores her collaboration with producer Adam Landry and her band, who helped bring the sound of Royal Blue to life.
        • Hiatt opens up about the importance of community, praising the support and creativity of fellow musicians in the Nashville scene.
        • Listeners get a behind-the-scenes look at the music-making process, the stories behind the songs, and what it means to keep evolving as an artist.
        
        

        Chapters

        • 00:03 - Introducing Lilly Hiatt and Her New Album
        • 05:58 - The Journey of Songwriting: From Idea to Album
        • 13:24 - The Creative Balance: Ego and Self-Doubt in Music
        • 14:15 - The Creative Process: Writing on the Road
        • 19:51 - Transitioning to Royal Blue: The New Album
        
        

        Here's What We Wrote Back in 2015

        Lilly Hiatt released Royal Blue, to the surprise of fans of her singer-songwriter styled debut a couple years ago. For those who have seen her live with her band, though, Royal Blue comes closer to catching Hiatt’s quirky, reflective, trippy sensibility and personality. Royal Blue moves forward, demonstrating her growth as an artist in her own right, finding her path, and doing so her way. With an honest, open discussion of the self-doubt necessary to create art and some songwriters who are catching her ear, Lilly Hiatt shares who she is in this conversation.

        Takeaways

        • In this episode, we dive into Lilly Hiatt’s artistic growth and the making of her latest album, Royal Blue.
        • Hiatt shares how her sound and songwriting have evolved since her debut, showing just how much she’s grown as an artist.
        • We talk about her creative process, from writing songs to working closely with other musicians.
        • Hiatt also opens up about life on tour and what it’s like to connect with audiences, whether she’s playing solo or with a full band.
        
        

        Links

        • Lilly Hiatt
        • Lilly Hiatt on Bandcamp
        • You may also enjoy our conversation with Aaron Lee Tasjan
        • 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
        
        

        Bands and Musicians Mentioned in this Episode

        • Deer Tick
        • Diamond Rugs
        • Buxton
        • Aaron Lee Tasjan
        • Margo Price
        
        

        Recommended If You Like

        Lilly Hiatt, Royal Blue album, Country Fried Rock podcast, singer songwriter, Normal Town Records, Nashville music scene, touring musicians, creative process in songwriting, live acoustic performances, album art design, music collaboration, indie music interviews, songwriting inspiration, emerging artists in Nashville, analog recording, personal music journey, songwriting challenges, music production techniques, humor in songwriting, music career evolution, Normaltown

        Transcript

        Speaker A

        00:00:00.160 - 00:00:32.940

        Welcome to Country Fried Rock. I'm your host, Sloane Spencer. This week, I'm talking with Lily Hyatt about her recent album Royal Blue, available now on Normal Town Records.

        Hyatt's debut album was strongly in the singer songwriter camp, and her sophomore release takes her much more in the direction of her live shows. No folky coffee shop barista right here. Lily Hyatt is channeling her creative insecurity and taking her songs one step further.

        Expect a lot more to come from Lily Hyat Fried Rock.

        Speaker B

        00:00:33.100 - 00:00:44.540

        My guest today on Country Fried Rock is Lily Hyatt, who I've been tracking down for the past couple of records, but her most recent one is Royal Blue, out now on Normal Town Records. Welcome.

        Speaker C

        00:00:44.860 - 00:00:46.460

        Hey. Thank you for having me.

        Speaker B

        00:00:46.700 - 00:00:55.340

        Yay. So I'm very excited to get to finally chat with you. I've seen you live once, solo acoustic situation quite a while ago, well before this album.

        Speaker C

        00:00:55.740 - 00:01:09.650

        Wow. Okay, cool. Well, hopefully you'll see me again sometime with the band. I'm always wondering when people say that. I'm like, oh, when was it?

        You know how you always think, well, it's better now. It's better now. So that is how it goes.

        Speaker B

        00:01:09.810 - 00:01:13.410

        Well. All right. So Royal Blue's been out for a while. What have you been up to with it?

        Speaker C

        00:01:13.569 - 00:01:27.150

        Well, been on the road for about a month.

        I just got back a few days ago to Nashville, so I'm just getting in the swing with being back in town and prepping for summer and seeing what kind of stuff comes up.

        Speaker B

        00:01:27.470 - 00:01:29.230

        Were you touring solo or with a band?

        Speaker C

        00:01:29.390 - 00:01:54.930

        I did some stuff with a band we went to south by, which was really fun, and then I did a lot of stuff as a duo. So me and guitar player, so we were out on the west coast, and that was fun and presents some odd challenges, but in the best of ways.

        So the band stuff's easy, but the solo duo, that stuff gets a little trickier in terms of engaging people.

        Speaker B

        00:01:54.930 - 00:01:59.090

        You know, songs obviously change when you're having to have a different kind of setup like that.

        Speaker C

        00:01:59.330 - 00:02:13.970

        They totally change.

        And kind of trying to figure out how to maintain the essence of the record yet rework it so that it's conducive to that kind of format, is it's a process, but it's fun, so I enjoy it.

        Speaker B

        00:02:14.530 - 00:02:27.270

        I guess I first got to know about you just before the previous record came. Came out, and you have had a ton of professional changes in the meantime. What started with you making your own music?

        Speaker C

        00:02:28.150 - 00:04:16.230

        Well, I think that I have always kind of had that as the goal, I mean, I went to college and studied. I didn't study music in college, but I still had the mindset of, but I'm going to play music. So I suppose it became something that was the focus of.

        I'm really going to try going for this. When I moved back to Nashville after college, so that was. Sadly, it was longer than I'd like to admit.

        I think it was like nine years ago or something like that. I don't know, I'd say 2006.

        But you know, in the meantime, I've worked a lot of different jobs, mainly coffee shop type things and, you know, kind of been chipping away for a little bit at this. So when I made that first record, it was 2012 and it took about a year to make it. So maybe we got started on that 2011. Ish.

        Oh God, that was a while ago. But I had songs and I'd done a little EP and I'd done some recording. My dad had a studio and I'd done some recording with him.

        And then I decided I need a whole record so I can put it out there. I kind of talked to him about producing it and he was like, why don't you talk to my friend Doug about that? Because I don't think he didn't want to.

        I just think he wanted me to kind of find my own way with that. And I ended up talking to Doug Lancio and he was really willing to work with me.

        And over time I was able to, and through the kindness of my bandmates and different people willing to work with me at a pre budget price, I was able to make that record and pay for it, you know, and then that became something. That was my first piece of work that I could present, try to get somebody to distribute it.

        Speaker B

        00:04:16.550 - 00:04:26.150

        That was a great opportunity for you to say, this is me doing my thing, which I. You know, I respect your father for not assisting you on that particular process.

        Speaker C

        00:04:26.790 - 00:04:35.270

        Yeah, no, I thought that was really cool. He just wanted me to go my own way, you know, so it was a loving, smart thing to do on his part.

        Speaker B

        00:04:35.510 - 00:04:42.070

        Sure, I totally support that. After that record with the Drop Ponies came out, what continued to evolve for you in your music?

        Speaker C

        00:04:43.000 - 00:05:20.890

        When the first record came out, a lot of those songs were. They were gathered over a few years time and you grow up, you change, you gain confidence, you lose it, you gain back more.

        I think all sorts of life events occurred and that becomes part of writing and perspective and it's ever changing that whole thing. I'm always looking at things from new angles, but there's a continuation of kind of finding what your voice is.

        I don't think I've completely found that, but I think I have a better idea now than maybe I did then. But what I was doing then was where I was at at the time.

        Speaker A

        00:05:20.890 - 00:05:21.370

        Hey, y'.

        Speaker B

        00:05:21.370 - 00:05:21.450

        All.

        Speaker A

        00:05:21.450 - 00:05:41.440

        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 C

        00:05:41.520 - 00:05:44.240

        Hey, this is Lily Hyatt on Country Fried Rock.

        Speaker B

        00:05:44.640 - 00:05:52.320

        Once that was out and you knew that you were going to be making another album, what was your process in gathering your new songs since they're all written by you?

        Speaker C

        00:05:52.480 - 00:07:27.380

        I think I work all right with deadlines, and I knew I wanted to have a record made within the next year.

        Well, the year prior to recording my last album, Royal Blue, I knew I wanted to make something, so I just started writing and writing and writing, and before I knew it, I had, you know, over that year's time, at least 15 songs that I wanted to show other people, you know, and that's what we ended up recording is 15 songs, but we only put 12 on the album. It's motivation. When I know I need to have a batch together, I'll do it. It was good. I wasn't doing a lot else either. I mean, I was working.

        I was working at Whole Foods and traveling a little bit, but it's not like I was on the road a ton. You know, I was pretty grounded, so I had plenty of time to just write stuff. Some of the songs I played out, but only a few, really.

        The rest, a lot of them had never been played, other than to my garage band on my computer. So most of those songs for pre production, the band really knew only three of the songs. The rest were.

        We spent three days rehearsing before we recorded, and they got the feel for them really fast. That's a lot of fun. I like the people I play with because we all speak a similar language, so there doesn't have to be a lot of.

        I don't like telling people what to do, you know, I just. But I do want them to do what I like, you know, so it's nice to have a band where you're all on the same page and you don't have to say, do this.

        No, don't do that, you know, everyone's able to express themselves and it can be a cohesive thing.

        Speaker B

        00:07:27.460 - 00:07:29.460

        How did you choose to work with Adam Landry?

        Speaker C

        00:07:29.700 - 00:08:18.050

        I had known Adam for a while, and I really like him as a person, and I like the other bands he works with. I like Dear Tick, and I like Diamond Rugs a lot. That record that they made at his studio was one of my favorites.

        He's a cool guy, and I like his whole approach. And I knew he did analog recording, which always been interested in. So I just had a feeling like, this is going to be cool.

        I've had people ask me, like, how was it working with Adam? Or I'm thinking about working with him, and I'm like, you should. Because he has a real unique style and way of working.

        He's really smart, and he's one of those people that, I don't know, he doesn't step on your toes, but he brings a lot to the table. But he does it for you, not for himself, you know, which I really love about Adam.

        Speaker B

        00:08:18.050 - 00:08:25.010

        So a lot of people want different things in a producer relationship, and so it's good to find one that is helping you become a better you.

        Speaker C

        00:08:25.810 - 00:08:47.490

        Yeah, it is. Yeah. With him, it was really easy and fun and to work, but, you know, it did feel like we're speaking the same language.

        No, you know, same thing with when, you know, I showed the songs to my band and they're like, oh, we know what to do. And I'm like, yeah, that's exactly it. You know, he just.

        To me, it was almost like, well, Adam is another band member, you know, and he was kind of tying it all together for us.

        Speaker B

        00:08:47.780 - 00:08:52.420

        When you're recording and touring, do you work with the same folks or do you have different bands for the different circumstances?

        Speaker C

        00:08:52.980 - 00:09:48.720

        You know, sometimes that changes around. I was happy because I got to make Letdown and Royal Blue with the same band, which I thought was cool.

        You know, in my mind, I've always wanted to be part of a band, and it so happens that I ended up kind of.

        I hesitate to use the term solo artist, but that is kind of what I am at the end of the day, you know, so sometimes there is a revolving cast, but I have my preferred group that in my head, I think that's my band. Not that I think they're mine exclusively, but I want to change stuff up, too. You know, you never know what can happen.

        And everyone that I play with, most of them play with a lot of people, and that's part of the fun. Sometimes somebody can't go on the road and you got to call someone else and you meet someone else who's really fun and great to play with.

        You know, it's fun to have your crew and it's fun to keep it open as well.

        Speaker A

        00:09:48.720 - 00:10:07.360

        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, hey.

        Speaker C

        00:10:07.360 - 00:10:16.040

        If you'd like to know more about my music and what I'm doing, check out lilyhiet.com Lilly L I L L Y H I A T T Speaking.

        Speaker B

        00:10:16.040 - 00:10:21.360

        Of collaborating or different kinds of collaborating, who have you enjoyed getting to play with?

        Speaker C

        00:10:21.840 - 00:10:26.320

        We did a show with this girl. You've probably heard of her idea, Victoria.

        Speaker B

        00:10:26.320 - 00:10:27.040

        Oh, yes.

        Speaker C

        00:10:27.680 - 00:10:33.280

        She's really cool. I like her band. I love her band and her thing. I think it's really neat.

        Speaker B

        00:10:33.360 - 00:10:37.920

        And she's only got three songs out right now, so I can't interview her until she has an album, but I'm waiting.

        Speaker C

        00:10:38.560 - 00:11:14.410

        Yeah, yeah. She's. She's. I really, really think her. What she's doing is cool. And I love her drummer. Tiffany Minton is just awesome.

        And their whole setup is really neat, so that's fun. And I have this band, Buxton, that's on New West. We got to do some shows with them recently, and that was really cool.

        It's great to be on bills and all be rooting for each other, you know what I mean?

        But also be playing with really great musicians so that not to feel competitive or anything, but just so you're like, oh, I gotta really up my game on this and do as good a job as they did, you know.

        Speaker B

        00:11:14.490 - 00:11:29.930

        So you happen to be in Nashville, East Nashville, so that you're able to see a lot of the bands that may not be able to be on the road to the degree that those of us who live elsewhere would like. So who's kind of in the scene right now that you really are enjoying getting to see?

        Speaker C

        00:11:30.410 - 00:12:04.980

        I really like that band Bully. I mean, they're starting to really get out there, too, I think. Erin Ray is really, really talented. Just beautiful voice, great songwriter.

        Margo Price is new Love. Her country band is just great.

        And I've known her for a while and seen her work really hard and try lots of different things, and it's just really neat to watch. I'm sure. I'm Forgetting people, because I know that I think about this all the time. Of, oh, I love this band. I like Aaron Lee Tasjan.

        I don't think he's a really great writer and think there's just so much going on in Nashville. It's crazy to me.

        Speaker B

        00:12:04.980 - 00:12:22.380

        Well, and we have to say that both Margo Price has been on the show with one of her previous bands, talking specifically about the fact that she was getting ready to start a country band, which is now Margo and the Price Tags. Aaron Lee Tashin's been on as well, and he's a good friend of the show. Just great folks. Tons of great folks.

        And I love checking out the other people that you've recommended as...]]>3bdeca26-6e71-4a60-ab5a-b04a79ac5a5fFri, 05 Sep 2025 02:02:00 -040023:37truefull15141514Country Fried Rock 1504: Steve Earle's Terraplane, A Journey Through the BluesSummary

        In this episode, we’re diving into the world of the legendary Steve Earle and his latest album, Terraplane, a heartfelt journey into the blues. I’m Sloane Spencer, and while I don’t claim to be a blues expert, I’ve always had a deep appreciation for its many styles, from Carolina Piedmont to Delta and Texas blues. During our chat, we explore Earle’s creative process and how working closely with his band—especially guitarist Chris Masterson—shaped the sound of the album. Along the way, we also touch on the rich history of blues music and how it continues to influence Earle’s songwriting today. Tune in to hear how tradition and innovation come together in Terraplane—you won’t want to miss it!

        Show Notes

        This episode features a fun and thoughtful conversation between host Sloane Spencer and legendary musician Steve Earle, who's currently sharing his latest album, Terraplane. Steve dives into his growing love for Texas blues, a style he’s come to really appreciate, even if he admits he’s still learning about it. He reflects on his Texas roots and the influence of blues greats like Mance Lipscomb and Lightnin' Hopkins, who left a big impression on him early on.

        Steve also talks about how working closely with his bandmates, especially Chris Masterson and Eleanor Whitmore, helped shape the album’s sound in an organic, collaborative way. Throughout the episode, listeners get a behind-the-scenes look at the creative process behind Terraplane, and how Steve pushes himself to keep his songwriting honest, powerful, and rooted in tradition. He shares how important it is for him to stay true to the blues while still adding his own voice—creating a record that both honors the past and explores new territory.

        Here's What We Wrote Back in 2015

        Steve Earle channels his Texas Blues roots with his latest album, Terraplane — named for the noted song by Robert Johnson, but known to me in the well-circulated Canned Heat live tapes. Referencing everyone from Lightning Hopkins to Billy Gibbons of ZZ Top, Earle interviews himself, but does not get caught up in his script. He deftly name drops his own stint in jail, averting some questions by glossing over them and moving on so quickly that the pace is disrupted when going back to pick up dropped threads of thought. Earle respects those with whom he works, highlighting Chris Masterson’s (previously featured here) role in developing this blues trail during sound checks.

        Buy Terraplane here.

        Takeaways

        • The podcast features a thoughtful chat with Steve Earle about his latest blues-inspired album, Terraplane, which marks an exciting new chapter in his music.
        • Earle shares his deep love for Texas blues, talking about how it’s shaped his sound and influenced his growth as an artist.
        • One standout moment is when Earle highlights how important his band was in shaping the album—he really emphasizes the power of collaboration.
        • He also opens up about the hard work that went into writing the lyrics for Terraplane, showing how seriously he takes his craft.
        • The hosts get creative with mobile recording gear, giving listeners a behind-the-scenes peek at the fun (and occasional challenges) of taking the show on the road.
        • Earle reflects on the roots of blues music, helping listeners connect his work with the powerful history and legacy of the genre.
        
        

        Links

        • Steve Earle
        • Steve Earle on Bandcamp
        • You might also like our conversation with Justin Townes Earle
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        • After you buy music or see a show with these musicians, please support us with a few dollars in our Tip Jar
        
        

        Bands & Musicians Mentioned in this Episode

        • New West Records (label)
        • Canned Heat
        • Howlin Wolf
        • ZZ Top
        • Lightning Hopkins
        
        

        Recommended If You Like

        country fried rock, Texas blues, Steve Earle, Terraplane album, blues music, Carolina Piedmont blues, Delta blues, electric blues, acoustic blues, music podcast, singer-songwriter interviews, blues history, music collaboration, songwriting process, live music performance, independent music, blues guitar, music production, blues influences, Americana music

        Chapters

        • 00:03 - Introduction to Texas Blues
        • 03:40 - The Making of Terraplane
        • 06:10 - The Influence of Blues in Contemporary Music
        • 09:16 - The Influence of Texas Blues
        • 12:20 - The Evolution of Music: Blues to Pop
        • 15:01 - Musical Journeys and Personal Reflections
        
        

        Transcript

        Speaker A

        00:00:00.400 - 00:00:59.260

        Welcome to Country Fried Rock. I'm your host, Sloane Spencer. Somehow this year we've ended up on a Texas blues kick.

        One of those things that seems to happen to us every so often as we follow one trail down the rabbit hole.

        So I'll admit that I'm not the most knowledgeable person about blues music, although I certainly appreciate the kinds with which I'm most familiar of Carolina Piedmont blues, a little bit of Delta blues, and of course, Texas blues. But I'm definitely not an expert. Thankfully, talking with Steve Earle, all I had to do was open the floor and takes the ball and runs with it.

        Steve Earle's brand new record, Terraplane, is out now on New West Records. This week on Country Fried Rock, we decided to take the show on the road for a few weeks, testing out some new technology for mobile recording.

        Yep, it sounded like a great idea, but unfortunately it doesn't sound that great. So don't miss a minute of the Country Fried Rock road trips on countryfriderock.org.

        Speaker B

        00:00:59.260 - 00:01:06.360

        My guest today on Country Fried Rock is Steve Earle with a new record called Terraplane that goes in a blues direction. Welcome.

        Speaker C

        00:01:07.240 - 00:01:07.880

        How are you?

        Speaker B

        00:01:08.760 - 00:01:20.520

        I'm doing well, thank you. I'm looking forward to chatting with you about this.

        I actually spoke with Chris Masterson and Eleanor Whitmore right after or right before y' all were getting ready to do a little recording related to this.

        Speaker C

        00:01:21.320 - 00:02:45.580

        Well, Chris has a lot to do with it happening in the first place. I mean, since Chris and Al came along, this kind of best band I've ever had. But Chris, this is what Chris's background is in the blues anyway.

        It's how he's kind of started. And the acoustic side of the stuff I'm pretty comfortable with.

        I was in the same room with Mads Lipscomb and Lightning Hopkins on more than one occasion. And I've recorded stuff like that before, you know, several times over the course of my career.

        But there's a thing, if you grow up in Texas, that can be a little intimidating about the electric side of it. I saw Frady King and I saw Johnny Winter. I saw, you know, the first brothers bands, the Vaughn Brothers were in. You know, I.

        Rocky Hill, who's Dusty Hill or was Dusty Hill's older brother. He's gone now, but took me to see Rory Gallagher for the first time when I was 17 years old.

        I know a lot about it, you know, and I was in a blues band when I was in 13 or 14. But you become. I moved away from it and did something else and it becomes A very. Look, there's. There is no LA Shuffle. There is no New York Shuffle.

        There's a Texas Shuffle, and there's a Chicago Shuffle. So it's. The bar is really high on that stuff if you're from Texas. So it was intimidating to me.

        But Chris being in the band and just some stuff that sort of happened organically on soundchecks over the last few years sort of, I think, led me, got me pointed towards thinking it was time to finally make this record.

        Speaker B

        00:02:46.060 - 00:02:51.300

        That's cool. I didn't realize that he was such an impetus to make that happen, but with his history, that makes sense as well.

        Speaker C

        00:02:51.300 - 00:03:05.720

        It was just. He was there, the tool was in the box. You know, he's like. It was a resource I had at my disposal that I'd never had before. He's really.

        You know, and I got to see Chris with a Strat in his hands because his son sort of sworn off Stratocasters, and he kind of had to pick one up for this record.

        Speaker A

        00:03:08.920 - 00:03:29.480

        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 atcountry fried rock dot org.

        Speaker C

        00:03:29.560 - 00:03:31.710

        Hey, this is Steve Earl, and you're listening to Country Fried.

        Speaker B

        00:03:32.660 - 00:03:43.700

        I know that you all, as a band, tour quite a bit as well, but what led to the actual writing of these songs? Because...]]>Summary

        In this episode, we’re diving into the world of the legendary Steve Earle and his latest album, Terraplane, a heartfelt journey into the blues. I’m Sloane Spencer, and while I don’t claim to be a blues expert, I’ve always had a deep appreciation for its many styles, from Carolina Piedmont to Delta and Texas blues. During our chat, we explore Earle’s creative process and how working closely with his band—especially guitarist Chris Masterson—shaped the sound of the album. Along the way, we also touch on the rich history of blues music and how it continues to influence Earle’s songwriting today. Tune in to hear how tradition and innovation come together in Terraplane—you won’t want to miss it!

        Show Notes

        This episode features a fun and thoughtful conversation between host Sloane Spencer and legendary musician Steve Earle, who's currently sharing his latest album, Terraplane. Steve dives into his growing love for Texas blues, a style he’s come to really appreciate, even if he admits he’s still learning about it. He reflects on his Texas roots and the influence of blues greats like Mance Lipscomb and Lightnin' Hopkins, who left a big impression on him early on.

        Steve also talks about how working closely with his bandmates, especially Chris Masterson and Eleanor Whitmore, helped shape the album’s sound in an organic, collaborative way. Throughout the episode, listeners get a behind-the-scenes look at the creative process behind Terraplane, and how Steve pushes himself to keep his songwriting honest, powerful, and rooted in tradition. He shares how important it is for him to stay true to the blues while still adding his own voice—creating a record that both honors the past and explores new territory.

        Here's What We Wrote Back in 2015

        Steve Earle channels his Texas Blues roots with his latest album, Terraplane — named for the noted song by Robert Johnson, but known to me in the well-circulated Canned Heat live tapes. Referencing everyone from Lightning Hopkins to Billy Gibbons of ZZ Top, Earle interviews himself, but does not get caught up in his script. He deftly name drops his own stint in jail, averting some questions by glossing over them and moving on so quickly that the pace is disrupted when going back to pick up dropped threads of thought. Earle respects those with whom he works, highlighting Chris Masterson’s (previously featured here) role in developing this blues trail during sound checks.

        Buy Terraplane here.

        Takeaways

        • The podcast features a thoughtful chat with Steve Earle about his latest blues-inspired album, Terraplane, which marks an exciting new chapter in his music.
        • Earle shares his deep love for Texas blues, talking about how it’s shaped his sound and influenced his growth as an artist.
        • One standout moment is when Earle highlights how important his band was in shaping the album—he really emphasizes the power of collaboration.
        • He also opens up about the hard work that went into writing the lyrics for Terraplane, showing how seriously he takes his craft.
        • The hosts get creative with mobile recording gear, giving listeners a behind-the-scenes peek at the fun (and occasional challenges) of taking the show on the road.
        • Earle reflects on the roots of blues music, helping listeners connect his work with the powerful history and legacy of the genre.
        
        

        Links

        • Steve Earle
        • Steve Earle on Bandcamp
        • You might also like our conversation with Justin Townes Earle
        • Sloane Spencer now hosts a Gen X sleep podcast, Sleep with Rock Stars
        • After you buy music or see a show with these musicians, please support us with a few dollars in our Tip Jar
        
        

        Bands & Musicians Mentioned in this Episode

        • New West Records (label)
        • Canned Heat
        • Howlin Wolf
        • ZZ Top
        • Lightning Hopkins
        
        

        Recommended If You Like

        country fried rock, Texas blues, Steve Earle, Terraplane album, blues music, Carolina Piedmont blues, Delta blues, electric blues, acoustic blues, music podcast, singer-songwriter interviews, blues history, music collaboration, songwriting process, live music performance, independent music, blues guitar, music production, blues influences, Americana music

        Chapters

        • 00:03 - Introduction to Texas Blues
        • 03:40 - The Making of Terraplane
        • 06:10 - The Influence of Blues in Contemporary Music
        • 09:16 - The Influence of Texas Blues
        • 12:20 - The Evolution of Music: Blues to Pop
        • 15:01 - Musical Journeys and Personal Reflections
        
        

        Transcript

        Speaker A

        00:00:00.400 - 00:00:59.260

        Welcome to Country Fried Rock. I'm your host, Sloane Spencer. Somehow this year we've ended up on a Texas blues kick.

        One of those things that seems to happen to us every so often as we follow one trail down the rabbit hole.

        So I'll admit that I'm not the most knowledgeable person about blues music, although I certainly appreciate the kinds with which I'm most familiar of Carolina Piedmont blues, a little bit of Delta blues, and of course, Texas blues. But I'm definitely not an expert. Thankfully, talking with Steve Earle, all I had to do was open the floor and takes the ball and runs with it.

        Steve Earle's brand new record, Terraplane, is out now on New West Records. This week on Country Fried Rock, we decided to take the show on the road for a few weeks, testing out some new technology for mobile recording.

        Yep, it sounded like a great idea, but unfortunately it doesn't sound that great. So don't miss a minute of the Country Fried Rock road trips on countryfriderock.org.

        Speaker B

        00:00:59.260 - 00:01:06.360

        My guest today on Country Fried Rock is Steve Earle with a new record called Terraplane that goes in a blues direction. Welcome.

        Speaker C

        00:01:07.240 - 00:01:07.880

        How are you?

        Speaker B

        00:01:08.760 - 00:01:20.520

        I'm doing well, thank you. I'm looking forward to chatting with you about this.

        I actually spoke with Chris Masterson and Eleanor Whitmore right after or right before y' all were getting ready to do a little recording related to this.

        Speaker C

        00:01:21.320 - 00:02:45.580

        Well, Chris has a lot to do with it happening in the first place. I mean, since Chris and Al came along, this kind of best band I've ever had. But Chris, this is what Chris's background is in the blues anyway.

        It's how he's kind of started. And the acoustic side of the stuff I'm pretty comfortable with.

        I was in the same room with Mads Lipscomb and Lightning Hopkins on more than one occasion. And I've recorded stuff like that before, you know, several times over the course of my career.

        But there's a thing, if you grow up in Texas, that can be a little intimidating about the electric side of it. I saw Frady King and I saw Johnny Winter. I saw, you know, the first brothers bands, the Vaughn Brothers were in. You know, I.

        Rocky Hill, who's Dusty Hill or was Dusty Hill's older brother. He's gone now, but took me to see Rory Gallagher for the first time when I was 17 years old.

        I know a lot about it, you know, and I was in a blues band when I was in 13 or 14. But you become. I moved away from it and did something else and it becomes A very. Look, there's. There is no LA Shuffle. There is no New York Shuffle.

        There's a Texas Shuffle, and there's a Chicago Shuffle. So it's. The bar is really high on that stuff if you're from Texas. So it was intimidating to me.

        But Chris being in the band and just some stuff that sort of happened organically on soundchecks over the last few years sort of, I think, led me, got me pointed towards thinking it was time to finally make this record.

        Speaker B

        00:02:46.060 - 00:02:51.300

        That's cool. I didn't realize that he was such an impetus to make that happen, but with his history, that makes sense as well.

        Speaker C

        00:02:51.300 - 00:03:05.720

        It was just. He was there, the tool was in the box. You know, he's like. It was a resource I had at my disposal that I'd never had before. He's really.

        You know, and I got to see Chris with a Strat in his hands because his son sort of sworn off Stratocasters, and he kind of had to pick one up for this record.

        Speaker A

        00:03:08.920 - 00:03:29.480

        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 atcountry fried rock dot org.

        Speaker C

        00:03:29.560 - 00:03:31.710

        Hey, this is Steve Earl, and you're listening to Country Fried.

        Speaker B

        00:03:32.660 - 00:03:43.700

        I know that you all, as a band, tour quite a bit as well, but what led to the actual writing of these songs? Because you're not just reinterpreting Texas blues tunes. You're doing your own thing.

        Speaker C

        00:03:44.420 - 00:05:06.550

        We wrote them. I started writing them, touring with the band, you know, because nearly all my records start with stuff that we.

        That we start, you know, playing on sound checks. And that happened with this record, too.

        But then when I realized that, you know, I'm not the first singer songwriter to make a blues record, Bob Dylan's been doing it almost exclusively for a long time. He. Beginning with Bringing It All Back Home, that's kind of what he started doing.

        And then the records that aren't blues records can kind of be counted on one of Billy Joe Shaver's hands. You know, it's not like there's only a few records that he. I mean, arguably, National Skyline's not. Arguably Blood on the Tracks is not.

        But almost every record since, that's what he's worked with as a palette. And so, you know, it wasn't like I thought I was breaking Any new ground.

        I did realize very quickly that it was still needed to be a record that sort of came up to my standards, you know, lyrically and which is, you know, that bar is kind of high. I just had really good teachers, and I expect a lot of myself, and I think the people that buy my records expect a lot of me as a lyricist.

        So I worked really, really, really hard on the lyrics on this record. And I wrote like a half of the record. I finished it on a tour that I did by myself.

        I would just have a lot of time because I was touring, just no crew, nobody. Just me and a guitar and a mand a backpack. And touring mostly by train in Europe last fall.

        And I finished most of the songs, then went in and recorded in October.

        Speaker B

        00:05:07.030 - 00:05:16.870

        When you were developing those particular songs that developed when you were doing your solo thing in Europe, when you brought them back to record with the band, did you all work them up first? Did you work them up in the studio?

        Speaker C

        00:05:17.110 - 00:05:40.490

        There were some that we had worked up before I left, but the stuff that was brand new that they heard for the first time in the studio. There were no rehearsals, but we had enough material that we had. They did. This band's really good about doing his homework. They were all set.

        Guitar and vocals. As I finished the songs, I made garageband guitar and vocal files. And I sent them off as MP3s to everybody in the band as I finished them.

        Speaker B

        00:05:40.490 - 00:05:45.890

        With y' all collaborating in the production role of that, how does working with someone like him help you?

        Speaker C

        00:05:46.690 - 00:06:37.450

        I always have a producer, you know, at least a co producer. I mean, Ray Kennedy and I made records together for a long time, and he's essentially the engineer, but he's also a co producer.

        When we make records and it's just me and him, you know, I've tended towards using outside producers. I made a record with T Bone. I made a record with John King. Square Serenade Record. There's some things. The Town's record.

        There was no need in working with another producer. I was doing that largely guitar, vocal, you know, by myself and the Low Highways. Really just me as a producer and Ray as an engineer.

        I kind of knew exactly what I wanted to do there. And it was really about the band and the way this sounds. But this is like, you know, Bobby I've known for a long time.

        He's made a lot of blues records. He's made John Mayhow records. He's made Buddy Guy records. And I just felt like I wanted that in my camp, you know, when I did this I recorded it.

        So we were. Were all pretty comfortable. I knew everything would sound good.

        Speaker A

        00:06:37.450 - 00:06:55.450

        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.

        Speaker C

        00:06:55.610 - 00:07:00.650

        Hey. This is Steve Rowan. You can check out what me and the Dukes are doing for the rest of the year on Steve.

        Speaker B

        00:07:03.280 - 00:07:21.200

        When you're dealing with folks like this, it's obvious that they've got a lot in their own wheelhouse to bring to the table. But you also reference a lot of the deep Blues history. I mean, all the way back to the title of the record.

        When I first saw the title, and I'm admitting my own lack of knowledge, I grew up knowing the Canned Heat version of that Robert Johnson tune.

        Speaker C

        00:07:21.680 - 00:07:29.650

        Well, there's a. Canned Heat is very much a part of this record. Because the second concert I ever saw was Canned Heat. That's awesome.

        Speaker B

        00:07:29.650 - 00:07:30.250

        I didn't know that.

        Speaker C

        00:07:30.250 - 00:07:57.610

        And so to me, this was as much about. There's three sonic templates for this record. One is Howlin Wolf Records. Not all Chess records, but Howlin Wolf Records in particular.

        And then the other two are the first two ZZ Top records and Can Heat. And Can Heat was like the second concert I ever went to. And I loved that band. It was one of my very, very favorite bands.

        Yeah, it's like in 1968, can heat was probably my favorite band. Next to the Beatles.

        Speaker B

        00:07:58.140 - 00:08:03.660

        You mentioned Zeezy Top and their history with Texas Blues. You mentioned Rocky Hill, Dusty's brother.

        Speaker C

        00:08:03.900 - 00:10:28.840

        I met Gibbons finally through Guy Clark after I went on bass for Guy in 1975, because he had always known Guy. And I had already met Dusty and actually Frank one time through Rocky Hill, who I was pretty close to. Rocky was, you know, was Dusty's brother.

        And originally that rhythm section that became ZZ Top was a band called American Blues with Rocky. And that dissolved. And just as the moving sidewalks was breaking up, given the span. And then those guys became a ZC type when Bill put Top together.

        But I knew Rocky really well. He and Towns were really close. And I knew him through towns. And like I said, the first time I saw Rory Gallagher, I went with Rocky Hill.

        So I'm at Liberty hall in Houston. The North Texas thing is more of an electric thing, more of a shuffle thing.

        It's Freddie King and, you know, Albert King, you know, is the biggest influence on the Vaughn brothers, especially Steve. Then Freddie King's really kind of.

        When I was growing up, he was kind of the guy up there, you know, and all the people that came out of Fort Worth, you know, the Vaughns are from Dallas, Dusty and Frank are from Dallas. But people came to Houston for the most part. The Vaughns went to Austin, but because you could do that by then.

        But when I was growing up and, you know, a young teenager and when I first started being, becoming interested in music, Houston was the big time in Texas. That's where Mike and Hopkins, that's where ZZ Top was. That's where it just was the big city. And Sir Douglas Quintet was my.

        Where my local hometown here is in Santano, but She's About a Movie was recorded in Houston and at Sugar Hill. So I just, I gravitated towards Houston and, you know, and I knew Townes was there too.

        And the Houston thing because of Lightning and Mance, that's where Top was from. And if you listen to what Billy Gibbons does, it's kind of Lightning Hopkins really loud.

        And that's, you know, probably, you know, Lightning, you know, as big an influence as anybody on Billy's playing. But he's like, he's one of the greatest guitar players on the planet.

        Maybe, you know, because of ZZ Top being such a thing as a band and the records in the 80s, I think people, there's a tendency to not quite give him his due as one of the greatest guitar players that's ever lived. He's really a monster. He still plays great and he's still, still does really interesting stuff. So I, I, I just, I, he's, he's the real deal.

        Speaker A

        00:10:28.920 - 00:10:43.640

        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

        00:10:43.720 - 00:11:54.710

        Hey, this is Steve Earl and my new record Terraplane is available kind of anywhere that you can get records, but I'd go buy it at your independent local record store where you can get. All right, record store day single will be a version of Terraplane Blizz, my version of Robert Johnson's Terraplane Blizz.

        The main thing you have to understand about, and I think we get to that on this record, you're the best lover is Smokestack Lightning, basically. And it patterned out, it started out trying to be Lightning Hopkins, but I, but it turned into Smokestack and I just let it be that.

        And I just decided to stay with the acoustic guitar because I'm pretty comfortable on that instrument and. And it just sounded cool with Chris's electric against my acoustic, and we stayed with that.

        But the fact of the matter is, what it captures is the thing that blues has become this improvisational long form of music and live performance. But on records, those records, those classic records, they were jukebox records.

        And you don't make a song longer than 2 minutes, 30 seconds on the jukebox because otherwise you're cheating yourself out of quarters. They were short records, you know, they were made for people to put. Keep putting money in the juice jukebox and to dance to.

        Speaker B

        00:11:54.790 -...]]>42ac8ce0-63f5-44ea-b8c7-183278cd2ffcFri, 05 Sep 2025 02:02:00 -040018:13truefull15041504Country Fried Rock Returns: Rehashed, Revisited, ResurrectedSummary

        At the heart of Country Fried Rock was something simple but powerful: real, honest conversations with some truly incredible musicians who might not always get the spotlight they deserve. I’m Sloane Spencer, and from 2009-2020, I had the chance to sit down with amazing artists like Margo Price, Drivin n Cryin, and St. Paul & the Broken Bones at the emerging and re-emerging stages of their careers; folks who really capture the spirit of independent Southern music.

        Our new website is CountryFriedRock.com. If you have a favorite old episode you would like to hear, we will try to find it in the box of freeform files on hard drives.

        These chats, recorded between 2009 and 2020, dug into the real stuff: songwriting, making records, and the deeply personal drive to create. We’re going back into the archives and sharing these original episodes just as they were: raw, unfiltered, and full of heart.

        So come along with me as we revisit the stories and voices that helped shape Country Fried Rock into a space for authentic, gutsy music.

        What Country Fried Rock Is All About

        • We dive into heartfelt, honest conversations that celebrate the rich, diverse world of Southern music.
        • Our focus is on independent artists, those whose work often flies under the mainstream radar but is full of depth, emotion, and authenticity.
        • Between 2009 and 2020, we recorded hundreds of conversations with emerging songwriters who were shaping the indie music scene in powerful ways.
        • You’ll hear from artists like Margo Price, St. Paul & the Broken Bones, and Drivin n Cryin, each bringing their own voice and story to the table.
        
        

        What You’ll Hear in These Episodes

        • Real talk about songwriting, recording, and the often messy, beautiful journey of finding your voice as an artist.
        • Stories of resilience, creativity, and personal growth, not just the usual press-cycle soundbites.
        • A celebration of music as personal expression, not just a product to sell or a trend to follow.
        
        

        Why We’re Sharing These Archive Episodes

        • These are the original, unedited conversations: raw, unfiltered, and full of soul.
        • They serve as a kind of musical time capsule, capturing over a decade of creativity and change in the indie Southern music world.
        • Whether you’re a longtime fan or just discovering these artists, it’s a chance to reconnect with the roots of great music.
        
        

        Our Invitation to You

        • Join us as we revisit these moments, reconnect with these voices, and explore what makes truly independent music so compelling.
        • This isn’t just about nostalgia. It’s about honoring the craft and spirit of artists who continue to inspire and influence the sound of Southern music today.
        
        

        Links

        • Our new website is CountryFriedRock.com. Disregard whatever might be in old episodes.
        • We ardently support Nuci's Space in Athens, Georgia, an amazing resource reducing barriers to mental health care for the local music community.
        • We always want you to buy music directly from musicians and go to their shows. If you want to show your appreciation for this podcast, toss a few dollars in our Tip Jar.
        
        

        Chapters

        • 00:02 - Introduction to Country Fried Rock
        • 00:31 - Shining a Light on Honest Music
        • 00:41 - Digging Into the Archives
        • 01:07 - The People Behind Country Fried Rock
        • 01:16 - Introducing Country Fried Rock
        
        

        Takeaways

        • The podcast is all about real, down-to-earth conversations with up-and-coming songwriters in the world of independent Southern music.
        • You'll hear from incredible artists like Margo Price and St. Paul & the Broken Bones, as they open up about their creative journeys and what drives their music.
        • We're not chasing celebrity or hype. We're digging into the heart of what makes music meaningful: honest, personal expression.
        • We’re bringing back the original episodes just as they were: raw, unfiltered, and full of soul, so you can hear the stories as they were first told.
        • At its core, this podcast is about shining a light on heartfelt music that’s rooted in authenticity and an independent spirit.
        • Whether you're a longtime fan or just curious, it's a great way to discover your next favorite band through real conversations with passionate songwriters.
        
        

        Recommended If You Like

        Country Fried Rock, emerging songwriters, independent Southern music, music conversations, St Paul and the Broken Bones, Margo Price, authentic music, heartfelt songwriting, music archives, Southern rock, indie music podcast, songwriter interviews, re-releasing podcast episodes, indie artists, music storytelling, raw music conversations, compelling songwriters, discovering new music, podcast for music lovers, independent music scene, Steve Earle, Justin Townes Earle, Lilly Hiatt, Aaron Lee Tasjan, Kevn Kinney, Jim White, 6 String Drag, Kenny Roby, Rob Keller, Cale Tyson, Lee Gallagher, Andy Gabbard, M Lockwood Porter, Bones of JR Jones, Mic Harrison, Hollis Brown, Sam Lewis, Year of October, Great Peacock, Folk Family Revival, T hardy Morris, Rayland Baxter, Danny Barnes, Tim Nielson, The Pollies, Jay Burgess, Glossary, Joey Kneiser, Allen Thompson

        Transcript

        00:00:00.400 - 00:01:23.540

        Well, hey, y'. All. Welcome to Country Fried Rock.

        I'm Sloane Spencer, and from 2009 to 2020, we had some of the best conversations you didn't know you needed with emerging songwriters from independent Southern music and beyond before they hit the big festivals and late night shows. Artists like St Paul and the Broken Bones, driving and Crying and Margo Price and hundreds more stopped by for a chat.

        Not about fame or press cycles, but all about the music. It's real stuff, like writing songs, making records, finding their voices. We weren't chasing the stars, though.

        We were shining a light on the people making honest, gutsy, heartfelt music. Loosely Southern, rooted in rock, and always with an independent spirit. And now we're digging out the archives.

        We're re releasing as many of those original episodes as we can find, just as they were. No updates, no re edits, just raw, real conversations with some of the most compelling songwriters out there.

        Many of them right before they became household names. So whether you're hearing these episodes for the first time or you've been with us since the beginning, pull up a chair.

        Let's revisit the music and the stories. But most especially the people who made Country Fried Rock more than just a podcast. Rehashed, revisited, resurrected, whatever.

        It's Country Fried Rock. Subscribe now wherever you get your favorite podcasts and we just might help you find your new favorite band.

        ]]>Summary

        At the heart of Country Fried Rock was something simple but powerful: real, honest conversations with some truly incredible musicians who might not always get the spotlight they deserve. I’m Sloane Spencer, and from 2009-2020, I had the chance to sit down with amazing artists like Margo Price, Drivin n Cryin, and St. Paul & the Broken Bones at the emerging and re-emerging stages of their careers; folks who really capture the spirit of independent Southern music.

        Our new website is CountryFriedRock.com. If you have a favorite old episode you would like to hear, we will try to find it in the box of freeform files on hard drives.

        These chats, recorded between 2009 and 2020, dug into the real stuff: songwriting, making records, and the deeply personal drive to create. We’re going back into the archives and sharing these original episodes just as they were: raw, unfiltered, and full of heart.

        So come along with me as we revisit the stories and voices that helped shape Country Fried Rock into a space for authentic, gutsy music.

        What Country Fried Rock Is All About

        • We dive into heartfelt, honest conversations that celebrate the rich, diverse world of Southern music.
        • Our focus is on independent artists, those whose work often flies under the mainstream radar but is full of depth, emotion, and authenticity.
        • Between 2009 and 2020, we recorded hundreds of conversations with emerging songwriters who were shaping the indie music scene in powerful ways.
        • You’ll hear from artists like Margo Price, St. Paul & the Broken Bones, and Drivin n Cryin, each bringing their own voice and story to the table.
        
        

        What You’ll Hear in These Episodes

        • Real talk about songwriting, recording, and the often messy, beautiful journey of finding your voice as an artist.
        • Stories of resilience, creativity, and personal growth, not just the usual press-cycle soundbites.
        • A celebration of music as personal expression, not just a product to sell or a trend to follow.
        
        

        Why We’re Sharing These Archive Episodes

        • These are the original, unedited conversations: raw, unfiltered, and full of soul.
        • They serve as a kind of musical time capsule, capturing over a decade of creativity and change in the indie Southern music world.
        • Whether you’re a longtime fan or just discovering these artists, it’s a chance to reconnect with the roots of great music.
        
        

        Our Invitation to You

        • Join us as we revisit these moments, reconnect with these voices, and explore what makes truly independent music so compelling.
        • This isn’t just about nostalgia. It’s about honoring the craft and spirit of artists who continue to inspire and influence the sound of Southern music today.
        
        

        Links

        • Our new website is CountryFriedRock.com. Disregard whatever might be in old episodes.
        • We ardently support Nuci's Space in Athens, Georgia, an amazing resource reducing barriers to mental health care for the local music community.
        • We always want you to buy music directly from musicians and go to their shows. If you want to show your appreciation for this podcast, toss a few dollars in our Tip Jar.
        
        

        Chapters

        • 00:02 - Introduction to Country Fried Rock
        • 00:31 - Shining a Light on Honest Music
        • 00:41 - Digging Into the Archives
        • 01:07 - The People Behind Country Fried Rock
        • 01:16 - Introducing Country Fried Rock
        
        

        Takeaways

        • The podcast is all about real, down-to-earth conversations with up-and-coming songwriters in the world of independent Southern music.
        • You'll hear from incredible artists like Margo Price and St. Paul & the Broken Bones, as they open up about their creative journeys and what drives their music.
        • We're not chasing celebrity or hype. We're digging into the heart of what makes music meaningful: honest, personal expression.
        • We’re bringing back the original episodes just as they were: raw, unfiltered, and full of soul, so you can hear the stories as they were first told.
        • At its core, this podcast is about shining a light on heartfelt music that’s rooted in authenticity and an independent spirit.
        • Whether you're a longtime fan or just curious, it's a great way to discover your next favorite band through real conversations with passionate songwriters.
        
        

        Recommended If You Like

        Country Fried Rock, emerging songwriters, independent Southern music, music conversations, St Paul and the Broken Bones, Margo Price, authentic music, heartfelt songwriting, music archives, Southern rock, indie music podcast, songwriter interviews, re-releasing podcast episodes, indie artists, music storytelling, raw music conversations, compelling songwriters, discovering new music, podcast for music lovers, independent music scene, Steve Earle, Justin Townes Earle, Lilly Hiatt, Aaron Lee Tasjan, Kevn Kinney, Jim White, 6 String Drag, Kenny Roby, Rob Keller, Cale Tyson, Lee Gallagher, Andy Gabbard, M Lockwood Porter, Bones of JR Jones, Mic Harrison, Hollis Brown, Sam Lewis, Year of October, Great Peacock, Folk Family Revival, T hardy Morris, Rayland Baxter, Danny Barnes, Tim Nielson, The Pollies, Jay Burgess, Glossary, Joey Kneiser, Allen Thompson

        Transcript

        00:00:00.400 - 00:01:23.540

        Well, hey, y'. All. Welcome to Country Fried Rock.

        I'm Sloane Spencer, and from 2009 to 2020, we had some of the best conversations you didn't know you needed with emerging songwriters from independent Southern music and beyond before they hit the big festivals and late night shows. Artists like St Paul and the Broken Bones, driving and Crying and Margo Price and hundreds more stopped by for a chat.

        Not about fame or press cycles, but all about the music. It's real stuff, like writing songs, making records, finding their voices. We weren't chasing the stars, though.

        We were shining a light on the people making honest, gutsy, heartfelt music. Loosely Southern, rooted in rock, and always with an independent spirit. And now we're digging out the archives.

        We're re releasing as many of those original episodes as we can find, just as they were. No updates, no re edits, just raw, real conversations with some of the most compelling songwriters out there.

        Many of them right before they became household names. So whether you're hearing these episodes for the first time or you've been with us since the beginning, pull up a chair.

        Let's revisit the music and the stories. But most especially the people who made Country Fried Rock more than just a podcast. Rehashed, revisited, resurrected, whatever.

        It's Country Fried Rock. Subscribe now wherever you get your favorite podcasts and we just might help you find your new favorite band.

        ]]>ad32715e-58ef-4b03-b762-5dbcddfb54c4Thu, 04 Sep 2025 02:02:00 -040001:24truetrailer