Dead Fingers 2014 Interview
Dead Fingers, photo Courtesy Pipe and Gun
Taylor Hollingsworth and Kate Taylor better known as Birmingham, Alabama’s Dead Fingers took a few minutes to reflect on their adventures that took about two years and resulted in their sophomore release Big Black Dog on Birmingham’s Communicating Vessels .
Taylor and Kate took a much needed break when they became first time parents and found themselves with new material at a crossroads in the music business that is affecting even smaller regional labels.
After much reflection and at a point where they felt like they were ready to get out on the road, they ended up working with Birmingham, Alabama’s Communicating Vessels which has had national success with The Great Book Of John as well as regional favorites like The Grenadines.
The album was recorded in Mississippi with Bruce Watson [Fat Possum/ Big Legal Mess] long before the release date and label decisions were made and finally released with Bruce’s blessing right in Taylor and Kate’s own backyard.
Brad Hardisty / The Nashville Bridge: I have been listening to this album and it seems to be more organized then the first release in the sense that it is not as random as the other album. Does that make sense?
Taylor Hollingsworth / Dead Fingers: Yeah, I could see that for sure, yeah. We tried to have a direction, you know, in the recording. We tried to have, like a cohesive sound.
TNB: There are more concentration on the harmonies and also more of a focus on the country sound.
TH: I decided I am just a country musician you know. I’m like psychedelic country.
TNB: It works. I liked how you put “Big Black Dog” on the front end because that was kind of like the most off-beat and different from the rest. It looks like the first push is with “Free Tonight.”
TNB: You’ve been around for at least a decade now. As a solo artist, you were with Brash Music out of Georgia. You worked with Conor Oberst and The Mystic Valley Band . You’ve been with Big Legal Mess / Fat Possum out of Mississippi and now you are working with Communicating Vessels out of Birmingham. I guess it makes it a little bit easier to work with distribution and all of that.
TH: Not necessarily on the distribution, but it makes it easier for like, I don’t know, I thought it was making it easier until the last couple of days. No, I’m just kidding, I mean , it’s like easier when we can go to the office and actually discuss things face to face rather than by e-mail or just a phone call. I can bug them more frequently and make sure things are like getting done, I guess.
TNB: Communicating Vessels has pretty decent distribution. I remember seeing The Great Book of John and some of their other releases here in Nashville. They also concentrate on doing some vinyl, don’t they?
TH: Yeah, they are definitely doing vinyl. They are really cool people that do the label. I have really been excited about doing it. I hope that they can survive in this day and age in the music business. Obviously, it’s like a f*****n’ s**t show out there.
TNB: It’s weird. Jack White made an album that had three speeds on it to create more interest and it ended up being number 1 on Billboard. Lazaretto sold like 40,000 copies the first week. But, it’s like a piece of art.
TH: Well, he’s on a whole ‘nother plane.
TNB: When you guys tour are you going out with any other Alabama bands or just going out by yourselves?
Dead Fingers, Taylor Hollingsworth and Kate Taylor, photo courtesy Jonathan Purvis
TH: We just have this one tour booked as of right now and that’s just us by ourselves with local support in all the cities. I think that is usually good, you know, because you get local bands that help you with the draw.
TNB: Are you doing recording pretty much the way you used to, like, are you pretty much taking control of your work?
TH: This new album we did over at the Fat Possum studio at the same place as we did the first Dead Fingers album with Bruce Watson. We both kind of, you know, produced it like I come up with a lot of ideas of arrangement type stuff and instrumentation. Like adding certain things to make it sound a certain way, but I really don’t have anything to do with, like, what mic we are going to use or what stuff like that. Bruce is on top of that because I’ll just grab any kind of mic there is and just put’em on shit to record, but he knows which mic to use and to do it the proper way.
TNB: Well, he’s worked on a lot of stuff. My favorite Black Keys album was Chulahoma, the Junior Kimbrough stuff. That was awesome.
TH: Yeah man, Bruce has got his name on some cool records.
TNB: Ok, so you did it over there, was it originally going to be on his label, or?
TH: Yeah. The music business is eating them alive like he is losing money on a lot of records. He lost money on our first record. So, he was kind of thinking we would just release this record just digitally then I said there is a Birmingham label. I told him about Communicating Vessels. I was like, what if we got them to do the vinyl and you do the digital, but it kind of got to be like nobody is going to want to spend all this money on vinyl and not have the digital release so, we just decided to go with Communicating Vessels. We thought about it and they kind of offered us to do the vinyl and offered to help us with some of the core stuff. We also liked the idea of them just being down the street from us. I mean they are literally like a two minute drive so, we talked to Bruce and he was totally cool with the whole thing. I mean he was like I would love to say I could give you enough money to do all that but he just can’t.
TNB: It is kind of weird how Birmingham had evolved into where there were a lot of great bands that came out at a certain period of time. Like beitthemeans, Model Citizen, Universal Joint and your band The Spider Eaters. I can think of at least a dozen bands; Through The Sparks has made it through that whole thing. But, now Birmingham has its own label and other things going on so they can promote their own scene, which is kind of cool.
TH: Yes, it’s really cool, you know, I hope that they can expand beyond Birmingham. They certainly are trying real hard. They are goin’ through the motions. They are living and learning. They are hiring all kinds of publicists and radio people and I mean they are doing it.
TNB: Are they trying to get over to England?
TH: Yeah. They are actually hiring print over in England.
TNB: I was thinking, how say like The Drive By Truckers broke over there as well as Kings of Leon.
TH: Yeah, we went to Europe last year. On our last record, we had a European label as well as the Stateside label and we did a European tour which went over really well for us on our level. But, the label we were on, over there, went under. They lost their ass on every one of their records and now we don’t have a label over there. Labels are just going under right and left.
TNB: Jack White’s Third Man Records can sell a lot of his own records but he has recorded a lot of other people that don’t do much like even the Neil Young record he did is way down on the charts so it’s maybe selling like a couple of thousand.
TH: Bruce just told me they released the Iggy & The Stooges new album and didn’t even sell 10,000 copies. Iggy & the f*****g Stooges! That is insane and they spent a fortune on that record.
TNB: I know Infinity Cat put their label right behind the United Record Pressing plant here in town.
TH: Yeah, that is where we pressed our last record.
TNB: They have got things going on where they do limited runs on everything and they keep changing it up whether it is the type of vinyl or the sleeve. They change it up every tour because they have core buyers. They have guys that will buy three different versions of the same record to just get the different covers of a Jeff The Brotherhood release.
TH: Well the truth is the reason we are not on Bruce’s label is what really happened on the business end and that his distribution was losing so much money on all these small records that weren’t selling enough numbers and they were getting shipped back from stores. They had to change their way, so their new approach in order to distribute your record is to have you buy a package plan and it was four grand for just the cheapest package. That was just to get your record into the store and that added four grand to our cost which used to not be a cost at all. They made money per record off a percentage but now they don’t take a percentage they charge a flat fee because those records weren’t even selling enough for them to make a percentage. You know what I mean? Not making anything, losing money.
TNB: It’s kind of the trend right now that they are putting everything back on the artist. I was talking to Ryan Hurtgen [former Nashvillian in Rene Breton]of Perfect Beings and he said out there in California, the pluggers are charging the bands and you don’t know if they are out plugging your music or not. They are trying to suck the musicians dry…Hey Kate, are you there?
Kate Taylor / Dead Fingers: I’m here.
TNB: You kind of have your own thing, but it fits more with Folk Alliance or the Americana Music Festival here in Nashville for promoting, you know what I mean? I didn’t know if you were going to try to get into some of those things. The Americana Music Festival here in town is huge. People are flying in from all over the world.
TH: Is that where I played with The Dexateens last year?
TNB: You probably did. I know the Dexateens are pretty solid. I didn’t go last year.
TH: Yeah. I would love to do that.
TNB: Is the new album stuff you worked on a while back or is at all new?
TH: I don’t think we had it written during the last album but it is now like two years old though. I mean, most of the songs I wrote before our daughter was born. Kate, your songs are probably before she was born too?
Dead Fingers, photo courtesy Jonathan Purvis
Kate: Yeah, we were probably working on that album just as we just finished the tour of the first album. We had just come out from there and I was pregnant. So, when we finished the tour we just went straight back into the studio. Knowing you’re pregnant you are anticipating the lull. I mean, we obviously had to take a little time off from touring and not be able to work as much. So, even when we were on tour we went back and forth to Mississippi every other weekend while I was still pregnant and then we finished it. I think Taylor ended up going one or maybe two times after she was born. I mean she was just teeny tiny like three weeks old or something. We went back a couple of times to finish everything up. But, then there was the switching of labels and all that kind of stuff and that ended up taking much longer than we had anticipated.
TNB: So you are like ready to record again, probably?
TH: Yeah, we haven’t written any songs.
Kate: Yeah, we had the baby and stuff.
TH: I was going through my notebook last night and I realized I probably have an albums worth of stuff written. Old songs from back then.
Kate: We are just getting to the point where we can record again. You know, our daughter is getting to be not quite two actually, she will be in November. Just like little things, you know, even right now. She is usually not a night owl. We don’t have to wait until forever and ever, at bedtime she goes to bed.
Taylor: That just now started.
TNB: Life kind of changes when you got kids, that’s for sure.
Kate: So, we are just getting to a point where we can get the things out in front and start working again. Like at first, we were not writing anymore and not playing anymore.
TH: I’m about ready to start playing full time, just like locally you know.
TNB: What are you doing locally nowadays? Are doing like acoustic gigs somewhere? Or kicking it with a band?
TH: I have a cover band that I am playing with and stuff and then I work. I’ll do some acoustic gigs like, I do every second Friday at Parkside Cafe in the back bar up there. It’s like the cool bar now in Birmingham. All of our friends are hanging there. Lauren, from The Grenadines, tends bar at Parkside. It’s a bunch of cool folks. I think I am going to put together kind of like my own songs but then a bunch of country songs, cover songs that I can just play at bars to make a living. Make enough to get by without working the road. That is what I hope for.
TNB: Sounds good. It is a challenge. It’s kind of weird because it’s like when you released Tragic City, you were right on the edge of when the whole music business was goin’ down. I remember Tower Records was getting behind that album and then they went bankrupt.
TH: Yeah, they had a lot at Tower Records and like I remember it was like in Best Buy and shit like that. It was really getting pushed out there, but it was all right there at the end. I didn’t have a business minded head on my shoulder whatsoever anyway.
TNB: You were pushing everything at 100%.
TH: I just didn’t have the team behind me.
TNB: I definitely promote Birmingham when I get the chance.
TH: Yeah, I know you do.
TNB: Dude, good to hear that you guys are still pressing on. I was going to tell you that one of the highlights for me in Birmingham, probably 2006. You were playing with the Spider Eaters and Matt Patton from Model Citizen…
TH: Oh yeah Matt.
TNB: Yeah, he got up on stage and you guys did Ramones’ “Commando.” That was cool. It was good talking to you. Wish you the best man.
Taylor: Alright man, always good to talk to you.
Kate: Thank you so much.
Dead Fingers, photo courtesy Pipe and Gun
- Brad Hardisty, Nashville, TN thenashvillebridgeathotmaildotcom