Archives for category: Nashville

NAMM is almost upon us!

Brad Hardisty with The Starlite Desperation, 2005, Pittsburg, PA, opening for The Donnas

Brad Hardisty with The Starlite Desperation, 2005, Pittsburg, PA, opening for The Donnas

If you haven’t noticed, changes have been the norm this year. Performer Magazine has changed their format and no longer carry the local “scene” page every month like they used to. I had been writing the Nashville page almost every consecutive month for nearly three years. Performer is doing a monthly online edition but with the realities of today’s readership, is only publishing a physical edition bi-monthly.

Brad Hardisty with Allison Robertson, The Donnas, Desert Moon event at Pappy & Harriets, Joshua Tree, CA, 2005

Brad Hardisty with Allison Robertson, The Donnas, Desert Moon event at Pappy & Harriets, Joshua Tree, CA, 2005

My interview with The Black Lips was featured on the cover just a couple of months ago. Performer has improved every year and has increased its national relevancy year after year. It is a first rate publication for the gigging and recording musician, especially for the artist that is trying to break out and can look behind the curtains at what other bands and artists are doing to get their message out.

Brad Hardisty, stage debut, tap dancing at age 5, San Jose, CA. The Beach Boys were scheduled at the same venue the following night.

Brad Hardisty, stage debut, tap dancing at age 5, San Jose, CA. The Beach Boys were scheduled at the same venue the following night.

Performer magazine Editor Benjamin Ricci, has been a great person to work with over the last three years and I hope to be involved albeit on a more limited basis in the future.

Brad Hardisty with Joe Buck, The Jackalope, Salt Lake City, UT, 2009

Brad Hardisty with Joe Buck, The Jackalope, Salt Lake City, UT, 2009

Due to several commitments, my goal will be to post at least one great interview per month as well as photos, occasional reviews and some editorial pundit talk on the state of all things music.

I still get great information via email from bands and publicists and hope to get current information out regarding Nashville and regionals artists.

Brad Hardisty, Tootsies, Nashville, TN, with Violet Moon's Guitar Strap- On custom guitar strap.

Brad Hardisty, Tootsies, Nashville, TN, with Violet Moon’s Guitar Strap- On custom guitar strap.

NAMM is next month and I will have some friends involved in the music business visiting from the music business, one of which is my friend Dana Marie from Violet Moon’s Guitar Strap Ons who will be in town for NAMM for the second time in three years. She designed an incredible guitar strap that I have been using for the past four years. She has designed straps for artists ranging from James Williamson [The Stooges] to J.R. Blackmore [son of Ritchie Blackmore] and is able to do incredible work right down to intricate detail as requested by the musician.

Still to come are pictures from Record Store Day!

-          Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

Catching Up With Everybody

John Hatton backstage at The Mercy Lounge, The Billy Block Show, May 2014 , photo - Brad Hardisty

John Hatton backstage at The Mercy Lounge, The Billy Block Show, May 2014 , photo – Brad Hardisty

Nettie Rose was back in town working on her album and returned to The Billy Block Show at Mercy Lounge sounding better than ever. I was caught by surprise when I got a message from her current bassist,Johnny “Spazz” Hatton [Brian Setzer Orchestra] letting me know about the set that night.

Nettie was decked out like a prohibition era June Carter speakeasy chanteuse. John was sharing some of his knowledge on the upright with Billy’s son, Rocky Block who hosted later that night. Speaking of Billy Block, he looks to be recovering very well and was sitting in on the drums midway through the night with another group.

Billy was featured on the cover of Nashville Scene magazine recently behind the drum kit and everybody is happy that he is doing well.

John Oates, Record Store Day 2014, Grimey's, photo - Brad Hardisty

John Oates, Record Store Day 2014, Grimey’s, photo – Brad Hardisty

Record Store Day was another great success this year with the Groove featuring Nikki Lane who brought several copies of her new album on vinyl to be available only at The Groove until the official drop date several weeks later. The New West label vinyl sounded great and features local picker Kenny Vaughan (Marty Stuart) and Dave Roe (Johnny Cash) on bass. The album was recorded with Dan Auerbach (The Black Keys) at the helm really is a local Nashville tour-de-force.

photo courtesy of Ryan Hurtgen

photo courtesy of Ryan Hurtgen

More photos and stories from Record Store Day will be forthcoming as well as an extended interview with Ryan Hurtgen [former band Rene Breton during his Nashville days] and his new project out in California called Perfect Beings. The new recording done almost completely live sounds close to a modern take on 70’s prog like Yes, Gentle Giant and early Genesis. It has already been touted as the “Prog Rock Album of The Year” in some reviews.

Franklin, Tennessee is set for an extended Americana Music Festival dubbed the Americana Experience beginning on May 22nd and running for ten days! The Franklin Theater has featured several artists known for the genre such as Darrell Scott over the last couple of years.

There are so many events that have developed in the local area that Nashville Scene dedicated a month to month guide is this current week’s issue to help plan the summer months festivities.

On the short list, CMA Fest and Bonnaroo coming up next month followed by East Nashville’s Hot Chicken Festival on the 4th of July and the Tomato Festival not too long after that.

Uncle Dave Macon Days 2013 photo 1, photo - Brad Hardisty

Uncle Dave Macon Days 2013 photo 1, photo – Brad Hardisty

Uncle Dave Macon Days in Murfreesboro is one of the best old time music festivals and competition in the country and features some great jams in the park July 11th-13th.

NAMM returns in July with KISS and Def Leppard playing the Bridgestone Arena on opening night.

I just got my second magazine cover with Performer Magazine in April that featured an interview with Atlanta’s Black Lips that was supposed to be about the new album production but ended up being about their recent tour of the Middle East that was made into an Indie film and seemed to be a mind blowing experience all these months later.

Tristan Dunn, jamming with The Tim Boykin Blues Band, Birmingham, AL, photo - Brad Hardisty

Tristan Dunn, jamming with The Tim Boykin Blues Band, Birmingham, AL, photo – Brad Hardisty

Birmingham utility musician and vocalist Tristan Dunn is staying under my roof for the month of May and jamming on blues harp and vocals with just about every band on Lower Broad as well as Printer’s Alley. Tristan is gigging with current American Idol alumnus Casey Thrasher in Tuscaloosa, Alabama tonight.

Outside commitments are keeping me busy and spread a little thin lately but I will get some things up real soon! It’s always a good day to buy a vintage tube amp or

- Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

 

Alex Levine on The Kinks, New York Mayor Ed Koch and Underdogs

Alex Levine, The So So Glos, The End, Nashville, photo - Brad Hardisty

Alex Levine, The So So Glos, The End, Nashville, photo – Brad Hardisty

The So So Glos are clever without being cheeky, sincere without being preachy, self-aware but never too in on their own joke. Still, their most endearing trait is a simple one: They make murderously catchy, endorphin-boosting, shout-along guitar music with vigor and zeal. – Pitchfork, Zach Kelly

The So So Glos, The End, Nashville, photo - Brad Hardisty

The So So Glos, The End, Nashville, photo – Brad Hardisty

The So So Glos wear New York on their sleeves as a band of brothers that have been playing together since they were Wee Brooklyn Lads, taking in the sights and sounds of Nirvana and the social angst of the 90’s as well as The Beastie Boys and mixing it with New York’s best punk pioneers, The Dictators, The Ramones with the interweaving guitar techniques of Television and put them in a modern context of socially conscious East Coast Kinks with Hip Hop lyrics.

Ryan Levine, The So So Glos, The End, Nashville, photo - Brad Hardisty

Ryan Levine, The So So Glos, The End, Nashville, photo – Brad Hardisty

While at The End this past Monday night, Alex made the comment that they thought about moving to Nashville. Nashville has changed and The So So Glos would bring a different slice of pie to Music City. Alex is not only busy with the band but with Adam Reich and Shea Stadium Studio in New York.

Brad Hardisty / The Nashville Bridge: Tell me what is going on at Shea Stadium.

Alex Levine, The So So Glos, The End, Nashville, photo - Brad Hardisty

Alex Levine, The So So Glos, The End, Nashville, photo – Brad Hardisty

Alex Levine / The So So Glos: Every band that comes through Shea Stadium is documented and they are recorded by our Producer, Adam Reich who records all the bands and puts them up  at Live at Shea Stadium and archives them all.

TNB: Is it similar to the video you had that you did on KEXP Seattle that I saw on YouTube?

Adam Reich, The So So Glos, The End, Nashville, photo - Brad Hardisty

Adam Reich, The So So Glos, The End, Nashville, photo – Brad Hardisty

AL: Yeah, yeah, it’s like that but, it’s just that all the bands at Shea are up there. You can look at full sets.

TNB: My favorite cut was “Diss Town.” I don’t think you have released that as a single.

Zach Staggers, The So So Glos, The End, Nashville, photo - Brad Hardisty

Zach Staggers, The So So Glos, The End, Nashville, photo – Brad Hardisty

AL: It’s going to be the next single. I think.

TNB: I do like the video of “Son Of An American.” I guess that kinda shows you guys growing up playing instruments and all that kind of stuff, right?

AL: Yeah, that’s the way we started. We’ve been together for a while.

TNB: Yeah, you and your brother Ryan and I guess Zach ended up being your step-brother right?

AL: That’s how it all came together. It’s kind of the story of the band in the early stages.

TNB: As far as the sound, I was going to ask you how much Punk rock is around in New York or Brooklyn anymore? Is there a scene?

AL: We started the band about six years ago and we were definitely not in fashion or in style.  We were caught up in a lot of the Art scene and a lot of music shit parties and we were kind of always outcasts. There was noise rock or really hip shit. So, we kind of got into the DIY scene in Brooklyn and we helped  expand it. It seems like every day I see a new Punk band come out so I guess we were ahead of the times? I don’t know what to say about that.

TNB: Well to me, you are kind of a bridge because, obviously you have newer influences but, when you think of the original Punk that started in New York, I can hear that in your music  like The Dictators and a little bit of Television with the interactive guitar work that you guys do.

AL: Yeah, yeah totally.

TNB: I mean do you guys feel you are flying the flag for New York in a way?

The So So Glos, The End, Nashville, photo - Brad Hardisty

The So So Glos, The End, Nashville, photo – Brad Hardisty

AL: In some way. I think the mentality of all punkers is not necessarily what genre you play but, the energy and we are bringing a lot of different styles to the table. We’ve got Hip Hop. I don’t know if you hear that but, a lot of my lyrics are influenced a lot by Hip Hop. We are at the stage in music where  it kinda goes and it is just all mixed up in the Pop. But, the energy is Punk Rock. You know, pushing it a little bit toward the future. It is such a community between Rock and Roll and Punk Rock.  When it comes to music, I think we try to focus on a lot of different styles and there has been a lot of different kinds of music that we have been into from Motown to Country and Hip Hop as well as Punk Rock and Rock and Roll.

TNB: It is really upbeat stuff.

AL: Yeah.

Alex Levine, The So So Glos, The End, Nashville, photo - Brad Hardisty

Alex Levine, The So So Glos, The End, Nashville, photo – Brad Hardisty

TNB: When Punk Rock started out, it wasn’t all like bands like Fear and stuff. There were all different kinds of styles. Dictators were kind of cornball and they were having a good time.

AL: Yeah, my favorite stuff that they did was when they had those bittersweet undertones, you know.     The Kinks pulled that off a lot, like heavy social commentary and yet it was very poppy and happy in a big way but the subject is this really dark topic. I always like a bittersweet marriage between darkness and lightness, a walk on that thin line.

TNB: I think that is a good comparison with The Kinks. You guys name check a lot of things that put you where your band is from.

AL: Yeah.

Ryan Levine, The So So Glos, The End, Nashville, photo - Brad Hardisty

Ryan Levine, The So So Glos, The End, Nashville, photo – Brad Hardisty

TNB:  The Kinks talked about socio-economic things in a fun way about where they were from.

AL: Totally. I don’t think there are too many bands that talk about what they see nowadays for better or for worse, you know. They are always trying to do something simple. I think it is in our personalities to talk about it.

TNB:  I’ll tell you, starting your video off with Mayor Koch really cracked me up.

AL: Ha ha!

The So So Glos, The End, Nashville, photo - Brad Hardisty

The So So Glos, The End, Nashville, photo – Brad Hardisty

TNB: It was like how did you find that? How did you get permission? It was just hilarious.

AL: It was The Beastie Boys style that got us to think about using it.

TNB: Yeah, the video kind of reminded me of like a Beastie Boys video thing.

AL: Ed Koch, you know, kind of represented the whole of what New York is all about. In New York, you have such a perpetual underdog. We kind of see ourselves as underdogs in the whole music game because, you know, we don’t really have that much of a gimmick. We are what we are. We are not trying to sell much. We are just trying to live with the truth. A big deal to us is being underdogs.

TNB: When I looked at you guys you have this sense of dressing like uptown Beastie Boys but, also kind of like Television, where Television really didn’t have a look after Richard Hell left. They were just a band from New York and this is what we do.

AL: Yeah.

TNB: Anything coming up?

AL: Nothing really, just happy being back in Nashville and having a fun time.

The So So Glos, The End, Nashville, photo - Brad Hardisty

The So So Glos, The End, Nashville, photo – Brad Hardisty

-          Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

The Tony Gerber Interview

debbie bond cbb_soulshiningcdcov_med_hr-2The Cotton Blossom Band sets a new bar in uncharted waters by mixing true Space Music with old time tunes and Hill Country Blues lead by Tony Gerber, Nashville’s true Space music pioneer for three decades and Mason Stevens whose ability on anything with strings lends to the crossover technique that demands everything from cigar box guitar to electric guitar with multiple effects.

The two are joined by Michael Doster who played bass for B.B. King for over fifteen years on upright bass as well as Roy “Futureman” Wooten [ of Flecktones fame] on acoustic and electric percussion.

Tony Gerber, The Cotton Blossom Band, photo - Brad Hardisty

Tony Gerber, The Cotton Blossom Band, photo – Brad Hardisty

An interview with Tony Gerber can go in any direction since he has proven to be the Renaissance man of Nashville’s music underground. You may not have even known that Nashville has its own Space Music epicenter but Gerber’s Space for Music project began in 1985 as a listening group following the weekly radio broadcast of Music From the Hearts of Space. The space music genre was just beginning to take shape, influenced by the groundbreaking ambient works of Brian Eno, Krautrockers like Kraftwerk, and electronic artists like Cluster.

As a member of the trailblazing electronic music band SPACECRAFT, owner of the Internet-based Space for Music record label and most recently as his premier Second Life music mogul, Cypress Rosewood, Gerber has helped popularize space music across the United States, Canada, Europe and far reaches of the globe through his prolific musical releases and hundreds of live internet broadcast concerts online and into the virtual world platform.

The Cotton Blossom Band is keeping busy since their first release came out this year. Upcoming events include a taped performance on March 16th at The Old Time Pickin’ Parlor followed by a performance at Noteable Blends on March 21st.

Brad Hardisty/ The Nashville Bridge: What was the genesis of starting the Cotton Blossom Band?

Tony Gerber, The Cotton Blossom Band, photo - Brad Hardisty

Tony Gerber, The Cotton Blossom Band, photo – Brad Hardisty

Tony Gerber / the Cotton Blossom Band: It was almost like there were a couple because there’s a radio show here in town, The Mando Blues Show.  When Whit Hubner started Mando Blues, it happened to be real close to where I live. I’ve known him for almost thirty years, so he is almost kind of like family. He asked me in the very beginning when he started the show, “You ought to come up with something so you can play on the show.” This was after we [Nashville] had flooded out from the 2010 flood so I am kind of like, Wow! I can actually play blues with that real life event but the truth of the matter is when I was about seven or eight years old, I started guitar with the fingerpicking styles of Leadbelly and stuff like that.

TNB: So, you started out on guitar and with early blues music?

Mason Stevens, The Cotton Blossom Band, photo - Brad Hardisty

Mason Stevens, The Cotton Blossom Band, photo – Brad Hardisty

TG: I was attracted to that kind of old style blues, but over the years I have just been doing electronic music. I was pretty excited by the idea of putting together a blues project.  The first incarnation was actually with my good friend Doug Dillard from The Andy Griffith Show [The Darlings] and the real life Dillards and Tom Shinness who plays here in town and so the three of us originally played as a trio on the Mando Blues Show without any official name. At the end of year, I believe, Mason Stevens, who plays diddly bow and guitar in The Cotton Blossom Band got together with me. We’ve known each other since about 1986 and we have been playing together and staying in contact all these years. I really love his guitar playing, so we got together and just kinda tested out this new recording setup that I had.  I had my synthesizer and I had my Native American Flute in my hand and I just started singing an R.L. Burnside song called “Jumper on The Line.” When I did that, we stopped and looked at each other and got real excited about what we had just done and we said you know that really had a hybrid sound that was real exciting. We ended up starting the band as a result of doing that song. Mixing the synthesizers with the flutes, voice  was the actually the genesis point doing “Delta Space Blues.”

TNB: So R.L. Burnside has a hand in this new interstellar form of the blues?

Michael Doster, The Cotton Blossom Band, photo - Brad Hardisty

Michael Doster, The Cotton Blossom Band, photo – Brad Hardisty

TG: That song is the signature part of what the sound is, but to take it one step further, during our concerts and on our album we kind of start out acoustic and we get a little more spacey as the concert goes with a mix of space blues/space jazz. You know it takes people into a little different realm and then we bring them back at the end with a couple of songs that are more space blues that we wrote.

TNB: What got you interested in Space Music?

Roy "Futureman" Wooten, The Cotton Blossom Band, photo - Brad Hardisty

Roy “Futureman” Wooten, The Cotton Blossom Band, photo – Brad Hardisty

TG: I built a synthesizer when I was about fourteen years old and recorded sound on sound. The problem with Space Music is people just don’t know about it. There has never been like a real popular group other than maybe The Grateful Dead who had their own space out sessions.  Lots of times people comment that it reminds them of that a little but nobody has really brought Space Music into the forefront.

TNB: How does that tie into The Cotton Blossom Band project?

Tony Gerber, The Cotton Blossom Band, photo - Brad Hardisty

Tony Gerber, The Cotton Blossom Band, photo – Brad Hardisty

TG: One of the by-products of The Cotton Blossom Band is to introduce people to what Space Music or Ambient music is. So, that is exciting to me on a couple of levels you know.

TNB: One of the things that I noticed that really hit me was the Burnside song “Jumper On The Line” because of conversations I have had with Mississippi Blues musicians. They talk about where exactly the blues comes from; obviously the 7ths, well that comes from Egyptian music going back to Egypt. Also, the progression of how the blues feels.  A lot of them talk about their ancestors being scared because the Native Americans would be chanting and they played drums, of course. Black Americans played their drums hidden out in the Grove or whatever. They said that Indians actually scared them because of the Indian chants and that was also part of the blues and how it felt. When I heard you on the Native American flute, I thought of Othar Turner and the fife and drum African stuff. Did you think of that Native American aspect?

Michael Doster, Futureman,The Cotton Blossom Band, photo - Brad Hardisty

Michael Doster, Futureman,The Cotton Blossom Band, photo – Brad Hardisty

TG: To be honest with you, no I didn’t because at that moment that we did that I had been playing Native American Flute, heavily, for the last twelve years or so. It is a natural thing for me to blend it in. They are pentatonic instruments so when you play the blues on the Native American Flute it is very natural.  I have studied a lot about Black Native Americans and it’s really a complicated “Pandora’s Box” that we are opening up surrounding that stuff. I mean a lot of people were going back and forth and Native Americans were going over to Africa and Vikings came up here and were picking up Native American women and going back over there to where you have Nordic roots music that sounds like Native American music. You’ve got teepees and different dwellings on the West Coast of Africa. People were travelling back and forth and sharing music for a long time.

TNB: Nobody knows where it all starts because even in Mississippi they have pyramid mound cities all up and down along the Mississippi and they don’t know who those people were.

Michael Doster, The Cotton Blossom Band, photo - Brad Hardisty

Michael Doster, The Cotton Blossom Band, photo – Brad Hardisty

TG: Last year, I was with the Washitaw tribe. The Washitaw tribe goes back to ancient America like 4000 years ago. The mound dwellers, just like you said they were the mound builders.  The Washitaw were a very dark skinned tribe and they pretty much had the Louisiana Purchase. That was their land. You can look at old maps and you can see the name Washitaw. It shows up all over the place: mountains and rivers and all kinds of stuff. There are mountains that have been called that for who knows how long, you know I mean?  It’s an interesting kind of thing to think about for me, I guess, partly to because I am a mix. I am a true American. I am a mixed bag. I’m part Native American, there may even be some African American, I don’t know about the genetics thing but it is interesting how some of the music comes out. For me, I have just had this inner pulse thing that music, someone said I had, well you definitely have some African in you. I know that I am part Native American but it would ring true if how I feel music and how I am able to express it. 

TNB: The Cotton Blossom Band is a real change up for you.

Mason Stevens, The Cotton Blossom Band, photo - Brad Hardisty

Mason Stevens, The Cotton Blossom Band, photo – Brad Hardisty

TG: The first album is Soulshining. We are trying to decide how to even release it or what to do with it. I mean it is not even officially out there yet because we are trying to decide if we want a label or how we are going to treat it, so before we do a blast of sending it out to radio stations and stuff, we want to make sure it is aggregated out there so people can buy it when they hear it. The Soulshining album is the first album that I have replicated and put out that has me singing on it.

TNB: Really.

Futureman, The Cotton Blossom Band, photo - Brad Hardisty

Futureman, The Cotton Blossom Band, photo – Brad Hardisty

TG:  I started singing on the radio at nine years old. I have been writing music all these years but I have never really went that route with the music. There have been a couple of projects that I did where we have the masters but they have never been released.  I have heard the “man’s” voice being optimum in your Fifties. I feel that, so I am enjoying using my voice and singing some of these songs that have been with me like “One Meat Ball” or “Summertime,” Some of these songs have been with me since I was nine, ten, eleven years old. The covers songs we did were kind interpretations that have been inside of me for all those years and now coming out to where I can see a passion.

TNB: You worked with Mason before and he also plays with some Delta musicians. Michael Doster worked with BB King so he has a solid blues background and then of course Roy “Futureman” Wooten who does about anything. How did you decide who to work with?

The Cotton Blossom Band, photo - Brad Hardisty

The Cotton Blossom Band, photo – Brad Hardisty

TG: Ok, well Mason and I started working together first and we did a few rehearsals and kind of came up with a few songs. We wrote a couple, two or three songs and worked up some arrangements on some of these others. I think I had posted something about that work on Facebook. I posted a song or things I was just working on, some blues pieces and Michael Doster commented on it and was really interested. When I talked about The Cotton Blossom Band he kept commenting and of course, I live on Cotton Blossom so that is where our name comes from because we rehearse here and that is where it was conceived.

TNB: Did you play with Michael Doster before?

TG:  Doster and I played together on a blues project called Aashid Himons’ Mountain Soul Band so I had known him since the late 80’s.

TNB: When does Roy “Futureman” Wooten come into the picture?

The Cotton Blossom Band, photo - Steven Wilson

The Cotton Blossom Band, photo – Steven Wilson

TG: I have known “Futureman” for a long time as well. When we originally conceived the project, I said we need to have a Cajon player in this project. It wasn’t till a year after, when we did a couple of gigs and stuff that I just kind of re-acquainted with Roy. We had a lot of weird stuff happen anyway and we just started to do stuff together. He would come over to my house and we would do Space Music together. Since The Flecktones have broken up, he has had a lot more time to do other projects. I did a black history month project for him.  I did a recording of his last broadcast for the virtual world and the recording turned out absolutely phenomenal. We recorded on this system that I am using based around an iPad and Presonus Mic pres and Auria. When I am onstage, I am actually mixing and multi tracking while I am doing all this stuff.   I have just been blown away by all the stuff that we record so I am just going to keep on doing it.

TNB: Roy could have overplayed, but it was like he tapped into what you are trying to do and he fit it right in there.

Tony Gerber, The Cotton Blossom Band, photo - Patrick Sheehan

Tony Gerber, The Cotton Blossom Band, photo – Patrick Sheehan

TG: Absolutely. Well, part of it is the simplicity of the Cajon. I mean he added a cymbal which he didn’t have the last time we did the show and of course the Wave Drum.

TNB: Are you going to add anybody else into the mix?

Tony Gerber and Futureman, The Cotton Blossom Band, photo - Patrick Sheehan

Tony Gerber and Futureman, The Cotton Blossom Band, photo – Patrick Sheehan

TG:  I am hoping that an old friend of mine Billy Robinson who is a lap steel player who played with Hank Williams back in the 40’s and 50’s and has been playing with Chris Scruggs will be with us for a gig or two starting with The Old Time Pickin’ Parlor on March 16th.

TNB: Any International plans?

Tony Gerber, The Cotton Blossom Band, photo - Patrick Sheehan

Tony Gerber, The Cotton Blossom Band, photo – Patrick Sheehan

TG:  I would like to take the group to Europe but it has to financially work for everybody because everybody is working and doing their own thing. I know that they would really dig it over there because Europe is into my electronic music more than in the United States and they love the Blues.

-          Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

The Joel  Schneider Interview

My Goodness, photo - Jason Tang

My Goodness, photo – Jason Tang

The Seattle duo My Goodness , Joel Schneider and percussionist Andy Lum, make their first appearance in Nashville at The High Watt on February 23rd with Augustines in tow and a bass player!

My Goodness recently recorded a cover of Seattle’s early garage rock pioneers, The Sonics, “In The Sun” while on a tour stop in San Diego and had the event pressed to vinyl in time for fans during this cross country jaunt that brings the band through Texas before ending up in Tennessee.

While the band had been to SXSW in the past, they never made it to Nashville until now.  Joel Schneider took a few minutes with The Nashville Bridge to talk about the bands roots in Seattle and the opportunity to spend some time here in Nashville.

Brad Hardisty / The Nashville Bridge: Is this the first time in Nashville?

Joel Schneider / My Goodness: It will be. Yeah.

TNB: You will like the High Watt.

My Goodness, photo - Hayley Young

My Goodness, photo – Hayley Young

JS: Nashville is actually one of the places I am looking forward to be playing at on this tour.  When we looked at a map the first time, I said I really want to play Nashville and then also I would like to go to Montreal. Those are the two places I can’t wait to play.

TNB: If I’m right, you have about 25 dates scheduled this tour?

JS: We had 30, but now we have 29 because we had to cancel Salt Lake City.

TNB: Cancelled! That sucks because even Salt Lake City is starting to have a little bit of a scene.

JS: Yeah.

TNB:  The thing that interested me when I was hearing your music is that it was not like  what some of the other two man bands are doing, I mean I hear a little bit of Jeff Buckley, a little bit of Blue Cheer. Can you kind of define what you are after?

JS: Something came up about Jeff Buckley before. I actually write the majority of songs on acoustic guitar at home. They kind of start off as more mellow tunes usually and then once I take them into practice and, you know, this whole band setting definitely changes things. We get a lot more heavy.  We add parts and what not.  I started playing back in high school. Andy [Lum] and I were really big into the all ages hard core scene, so we kind of have a background in pretty heavy music. A little later on, I got into a lot of soul and blues music and stuff like that. A lot of my writing is kind of a mash-up of the two and whenever I start writing at home it’s a different technique, but with the band it starts to get pretty heavy.

TNB: Are you out of the Seattle Hard Core scene or did you start somewhere before that?

JS: We started in Seattle. I started when I was a teenager and that was what the particular scene was at the time. We are definitely out of Seattle.  We have played together for a couple years now.

TNB: What’s it like in Seattle now?

JS: It’s pretty eclectic.  There are a lot of different little communities there. You can be between scenes which is what I like. You can be in a folk band and can still be friends with a heavy band. You can still support each other, which is really cool. There have been a lot of scenes that have come out of the city, but there has also been kind of a heavy scene that is starting to come up and there is a record label which just started up a year or so ago. They are really giving an outlet for heavier bands that have been around for a while to get the recognition that they are getting now, which is really cool, but, there is definitely a variety music in Seattle.

TNB: We kind of have our own collection of two man bands here, like Jack White moved here a few years ago and The Black Keys followed a couple of years ago and we have had Jeff The Brotherhood around for I think probably 6 or 8 years.

JS: Yeah.

TNB: Do you know any of those guys?

JS: No. As bands for sure, but, I have never met any of them. We already have met a lot of people on this tour. Our good friend Cody [Votolato] is playing bass with us. He is gone for a few dates so we are playing as a two piece for a few dates and then he will meet up with us. He will be with us in Nashville.   I think the addition of bass playing has added a lot to what we do.

TNB: Does Cody normally play in another band?

JS: He was playing in a band called The Blood Brothers for a long time. They are out of Seattle. He has been on tour with a couple of other bands, Telekinesis and Old Cave. He is just a really accomplished musician and he helps out a lot. He was our first choice and we are just lucky that he said yes.

TNB: What do you find is the biggest challenge of doing a cross country club gig tour as opposed to a regional tour?

JS: Just being away from home, bro! It’s definitely the longest I have been away. It will be almost two months since I have been home and we have girls back home so, just keepin’ that going, it gets a little tough but we are making it work.  I am having a good time trying to keep it light, you know?

TNB: Are you doing any in-stores while you are here?

JS: In Nashville, I am not a 100% sure, I’ll have to look. I can always check on that for you.

TNB: I saw you pressed a vinyl seven inch about the time you hit L.A.?

JS:  We came down and played a few dates last winter and there was a studio [Lost Ark Studio]in San Diego that invited us in to do a song for their singles compilation. We decided to do a Sonics cover and they decided they wanted to press us 500 copies of the song and they had us do a second song too. We just picked up the vinyl copies two days ago. It was really, really nice of them. They didn’t charge us or anything.  They sound great.

TNB: Hopefully you will still have some of them when you get to Nashville.

JS: They gave us a lot more than I expected them to give us so we should have some of them for sure.

TNB: Are you doing this around the same time as SXSW or are you going to come back?

JS: We played SXSW the last couple of years, but we are going to be in Austin a week or two before so we are going to miss it. We just signed to Votiv Records. If there is not a reason for us to go, I’d rather not.  It’s pretty chaotic, you know, down there. We went for a couple of years and it’s always a good time. It always feels a little stressful.

TNB: What are you looking forward to the most when you come out here?

JS: I think we have a day off after the day we play, so I just want to walk around Nashville a little bit. I hear the music scene around Nashville is amazing.  I want to check out a couple of clubs and listen to a little music.

TNB: There is definitely a lot of clubs here now. One of the most interesting things is over at Third Man Records they have an antique restored make your own record booth. And it’s from the 1940’s and Jack White restored it. It sounds like a 78 when you record on it. It looks like a telephone booth.

JS: Oh wow.

TNB:  Neil Young just got threw recording an entire album in there. You can walk in there and for $15 you can press straight to vinyl in the booth. If you have an acoustic guitar or something you might want to try that while you are here.

JS: That would be awesome.  It sounds really cool.

TNB: I hope you have a good time and looking forward to the show.

JS: Thank you.

-          Brad Hardisty, Nashville, TN    thenashvillebridgeathotmaildotcom

The Luke Foley Interview

Luke Foley / Farewell Flight at The High Watt, 2/6/2014, photo - Brad Hardisty

Luke Foley / Farewell Flight at The High Watt, 2/6/2014, photo – Brad Hardisty

Farewell Flight showcased new music off I Was A Ghost to a packed house at The High Watt last Thursday night with a strong bill that featured The Joy of Painting and Lorien marking the first release after reaching a decade as a band with a March drop date.

Farewell Flight at The High Watt, Feb. 2014, photo - Brad Hardisty

Farewell Flight at The High Watt, Feb. 2014, photo – Brad Hardisty

Luke Foley, looking like a happier version of Jim Morrison’s “LA Woman” final Doors sessions era poet,  has developed into a full fledge Songwriter / Performer veteran that was at ease and ready to express fresh autobiographical lyrics about his “Quarter Life Crisis” that make up the new release.

farewell flight i was a ghostCITGO has featured the song “Places We’ll Go” from I Was A Ghost in their recent “Fueling Good” national ad campaign and Farewell Flight has become a favorite on Lightning 100 since moving from Pennsylvania to Nashville over two years ago.

Rabbit Campbell, Farewell Flight at The High Watt, 2/6/2014, photo - Brad Hardisty

Rabbit Campbell, Farewell Flight at The High Watt, 2/6/2014, photo – Brad Hardisty

The band is now built solidly around the core of Luke Foley as well as Caleb Allensworth [drums, samples] and “Rabbit” Campbell  on lead guitar in much the same way Genesis became and ”then there were three” after Peter Gabriel’s departure.

Before the show, The Nashville Bridge spoke with Luke Foley about overcoming the anxiety of being an independent band with the realization of how strong their core fan base is after a successful Kickstarter campaign.

Brad Hardisty / The Nashville Bridge: The lyrics seem like a mini storytelling Opera about events you have gone through. Is it really personal?

Luke Foley - Farewell Flight, photo - Brad Hardisty

Luke Foley – Farewell Flight, photo – Brad Hardisty

Luke Foley / Farewell Flight: Yeah I think it is. The stories pretty much stretch over the last three years, but also are reflecting on the previous ten.  So, it’s  very nostalgic in a sense since it is about me for the last few years, but it’s about myself for a good ten years leading up to that moment.

TNB: Two themes I really like are from “Breaking My Heart” where it talks about being 25 and “Quarter Life Crisis” which is a term I have never heard before. Also, “I Was A Ghost” where you are looking into the past then changes pulls you into the present.

Luke Foley, Farewell Flight at The High Watt, 2/6/2014, photo - Brad Hardisty

Luke Foley, Farewell Flight at The High Watt, 2/6/2014, photo – Brad Hardisty

Luke:  I think everything, every person you meet is for a season and sometimes a season is for a really long time perhaps it is for your whole life. I think that even though you have people that come into your life for a short period, you can become incredibly close to people in that short period of time. It’s still in the natural and normal progression for them to move out of your life.  People end up kind of doing it eventually and that song is about that, no matter how natural and normal it is, it is hard to do.

TNB: As far as the recording congratulations because Farewell Flight has been together for over ten years now.

Farewell Flight, The High Watt, Nashville, TN, 2/6/2014, photo - Brad Hardisty

Farewell Flight, The High Watt, Nashville, TN, 2/6/2014, photo – Brad Hardisty

Luke: It’s been quite a while. I was actually looking it up last night because I was trying to remember how long we have been a band like when was the first show or something.  But, I think 2003 is a ballpark. That would be my best guess.

TNB: I know you guys have gone through a lot of personnel changes. How long with have you worked with the two other members of the current lineup?

Caleb Allensworth series of 3, Farewell Flight, The High Watt, photos - Brad Hardisty

Caleb Allensworth series of 3, Farewell Flight, The High Watt, photos – Brad Hardisty

farewell flight 02201412farewell flight 02201411Luke:  My guitarist, “Rabbit” Campbell has been with me since the end of 2008, I think. My drummer, Caleb Allensworth currently started with me at the end of 2011 and we are currently a three piece. We just parted ways with our bassist who was willing to come back when my drummer did in 2011-2012. He still lives here in Nashville. He is actually a roommate of the other two guys in the band. He wanted to do some different stuff.

TNB: I know you had been with Mono vs Stereo, but I guess there were financial problems and they got around to releasing your album in 2011. This time around you are Independent and financed this album with a Kickstarter campaign. Was that kind of a gut wrenching thing, realizing that you are going to have to do it on your own?

Luke Foley, Farewell Flight, The High Watt, 2/6/2014, photo - Brad Hardisty

Luke Foley, Farewell Flight, The High Watt, 2/6/2014, photo – Brad Hardisty

Luke: I had really mixed feelings. So, yeah, Kickstarter… you know it was really hard and really easy to do at the same time.  We signed with Mono vs Stereo actually twice. We signed with them once and then the guy that ran the label, that signed us, left the label and we were left without a champion there and it gave us the option of: if you want to leave you can and so we decided to leave and then we were independent for a while. Then, the label was revived by these two guys. They really wanted to sign us, but they wanted to release an old record which we kind of fought against for a while, but I don’t know, we rolled the dice. We thought it would be a lot better having a connection with them, but it ended up turning out to be, you know, they are great guys, but it probably was not a great fit. So, once we left that label we went back to square one, although we are not just a band that just formed yesterday. We don’t have a record label, but at the same time it’s freeing to know that after six months [there was four months of planning and then executing Kickstarter] you don’t have other people involved and you are just able to do it all on your own timeline. It’s just really freeing and we really enjoyed doing that. It felt we were back to square one, but we really weren’t because over the years we have toured so much and we really had a great network of friends and fans that were able to get behind us and really help make the record happen. It is amazing to see how many people are still interested in what we are doing after all this time. It’s very humbling.

TNB: I remember when Mono vs Stereo wanted to change your name to Indian Summer and your fans fought it. That showed me that you had a strong base so that later on when you did this Kickstarter campaign you had somewhere to start.

Farewell Flight, The High Watt, Nashville, TN, 2/6/2014, photo - Brad Hardisty

Farewell Flight, The High Watt, Nashville, TN, 2/6/2014, photo – Brad Hardisty

Luke: Yeah, It’s definitely been very good. It’s cool. We don’t have a ton of fans, but our fans are very loyal and very fierce.  I think they really love what we do. I think it is because the music really connects with them on a very personal level. I think a lot of our fans relate to a lot of things that I have experienced. It’s like biographical tools for the people that listen to it. A lot of people have kind of adopted it as their own, kind of like, music for a movie. It’s like a score for their own personal life. I think that most people that listen to it kind of have that experience. I think that is why people are so fiercely loyal about our band even if there are not a whole lot of them.

TNB: “Places We’ll Go,” that reminds me of a Farewell Flight song, but you also took a lot of chances on this album.

Rabbit Campbell / Farewell Flight, The High Watt, 2/6/2014, photo - Brad Hardisty

Rabbit Campbell / Farewell Flight, The High Watt, 2/6/2014, photo – Brad Hardisty

Luke: Yeah, I think one of the biggest influences for me was the movie Drive.  I just love that movie and the soundtrack and then listening to a lot more “late 80’s” and “early 90’s” pop hits: the stuff I listened to when I was growing up. I didn’t know who the artists were. I just listened to the songs and I was just a little kid. There are songs by Phil Collins and Cyndi Lauper, even Springsteen stuff, you know, when you are growing up that you hear, but you don’t know who the people are. The songs are like a soundtrack to your life when you are little and so I think in keeping with the whole nostalgic thing, I think I was listening to the songs of my childhood and just a lot of that kind of music. I think that has a big play in what we do. I really wanted to lean heavily on synths and keyboards and drum machines on this record. I think that my own path is actually very acoustic stuff, so it‘s very hard. It was very difficult to get the emotion and the passion of what I was trying to say or get across with this new record. I think we accomplished trying to just get that rawness across.

TNB: It kind of has a little Prog or complexity in some of the songs.

Luke Foley - Farewell Flight,  The High Watt, 2/6/2014, photo - Brad Hardisty

Luke Foley – Farewell Flight, The High Watt, 2/6/2014, photo – Brad Hardisty

Luke: Yeah.

TNB:  You relocated to Nashville in 2012. What brought you to Nashville?

Luke Foley, Farewell Flight, The High Watt, 2/6/2014, photo - Brad Hardisty

Luke Foley, Farewell Flight, The High Watt, 2/6/2014, photo – Brad Hardisty

Luke:  I wanted to try something new. We toured for a good seven or eight years and we never had a booking agent. We did around 800 shows or something like that, completely independent and we always thought that was what was going to get us to the next level. It’s always a tough picture. We were working really hard, but it didn’t vacillate into anything happening.  I just kind of viewed that as “I can’t just keeping doing this over and over and expect different results to occur.” I was losing my mind. I had tried everything I could possibly do. What could I do differently? I thought; we have never tried relocating to a new area.  I made connections and built relationships, kind of like, you know, being in the right place at the right time or at least being in the right place all the time. That was our goal in moving to Nashville and I think it is already paying off. I think that a lot of the friendships and relationships that we are building have been very comfortable and helpful to our career.   A couple of things have happened here. I got our first placement on the CITGO ad. I got it from a person that I waited table on.  She just asked me what I was doing further than just living in Nashville. She was like, “So what are you doing here in Nashville other than wait tables?” and I said I write songs and play in band and stuff and she said, “send me your best track.” So I sent her “Places We’ll Go” and she placed it in a CITGO commercial. That doesn’t happen every day and I don’t really bring stuff up like that as a waiter like, oh well, I have a band check me out, you know, but I think that could never happen anywhere else except maybe L.A. or  New York maybe Seattle or Austin, but that never would have happened back in Harrisburg, Pennsylvania. The move was just to make connections with people.

Caleb Allensworth - Farewell Flight, The High Watt, 2/6/2014, photo - Brad Hardisty

Caleb Allensworth – Farewell Flight, The High Watt, 2/6/2014, photo – Brad Hardisty

TNB: You are right. The thing that is interesting is Nashville is evolving into where some of the things that would happen in L.A. or Seattle are starting to happen here.  You came at a good time.

Luke Foley, Farewell Flight, The High Watt, Nashville, TN 2/6/2014, photo - Brad Hardisty

Luke Foley, Farewell Flight, The High Watt, Nashville, TN 2/6/2014, photo – Brad Hardisty

Luke: I am very glad to be here. It is such a cool place to live even if you are not doing music. My wife is not a musician, she is an artist and there are so many creative opportunities here for someone like her or anybody who does something creative. It is a very creative place to be and I am happy to be living in Nashville.

Farewell Flight, photo - Brad Hardisty

Farewell Flight, photo – Brad Hardisty

- Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

debbie bond that thing called loveDebbie Bond’s third release, Blues Root Production’s That Thing Called Love, takes a bold step not only stylistically, but, recognizes the hot band, The Tru Dats  led by multi- instrumentalist bandleader and partner in crime and love, Rick Asherson as a full reckoning burning house of sound.

Debbie Bond and The Tru-Dats into a groove udring taping at Mando Blues, Nashville, TN, photo - Brad Hardisty

Debbie Bond and The Tru-Dats into a groove udring taping at Mando Blues, Nashville, TN, photo – Brad Hardisty

Recorded originally as a live recording at Omegalab Studios in the hills outside of Nashville for Radio Free Nashville’s Mando Blues Show after capping off an exhaustive Nashville weekend where Debbie Bond & The Tru Dats were featured at The Nashville Blues and Jazz Awards Show, the recording turned out to be magic with Debbie Bond & The Tru Dats in top form with a pristine live recording vibe that featured a few never recorded songs that were on par with Austin City Limits or England’s BBC In Studio productions.

Debbie Bond at Mando Blues Live, Nashville, TN, photo - Brad Hardisty

Debbie Bond at Mando Blues Live, Nashville, TN, photo – Brad Hardisty

Under the guiding hand of Rick Asherson with engineering, mix and mastering by Rob McClain this first official release from the Mando Blues Show kicks off with a tribute to The Holmes Brothers on Tracks one, “You’re The Kind Of Trouble” and three “Feed My Soul” which helps to define that there really are no boundaries within the definition of where the Tru Dats and the blues can go with it rootsy funky, swampy, Curtis Mayfield meets Stax Gospel vibe and compelling vocals by Debbie Bond.

 

Dave Crenshaw with Debbie Bond at Mando Blues, Nashville, TN, photo - Brad Hardisty

Dave Crenshaw with Debbie Bond at Mando Blues, Nashville, TN, photo – Brad Hardisty

Dave Crenshaw has enough space in between each drum hit to keep the groove swinging that wants to make you move, but Dave really shows his full spectrum on “Steady Rolling Man.” This is one of Debbie’s most adventurous tracks yet. Hard to believe that there are only four people playing when this could be a Preservation Hall Jazz track out of New Orlean’s French quarter with enough air to feel humidity drenched Creole food rolling out to the tables.

Debbie Bond transforms into a Ragtime Chanteuse, with interplay between Rick’s speakeasy piano, Dave Crenshaw’s straight up 1920’s style drums and Tom Pallardy’s ability to play sax like a trombonist or Pete Fountain without hesitation makes this unbelievable.

Rick Asherson and Debbie Bond meet up LLoveless Cafe prior to taping, Nashville, TN, photo - Brad Hardisty

Rick Asherson and Debbie Bond meet up LLoveless Cafe prior to taping, Nashville, TN, photo – Brad Hardisty

I like It Like That” most closely resembles Debbie and Rick’s days with Willie King, ‘The Sweet Potato Man’ who just passed away in 2008 with its call and response lines between Debbie and Rick sounding very much ‘Sweet Potato Man.’ Rick’s piano updates the Alabama soul groove with a sixties Aretha Franklin in Brooklyn strut then at 2:37 right after Debbie says, “maybe we can get the audience to clap their hands” he starts jamming bass and Musselwhite harp at the same time. There ought to be an award for this because when you see this live it is going to blow your mind.

The Alabama Sunday afternoon “Still Missing You” showcases Debbie’s Alabama blues style vocals that bring to mind the Muscle Shoals era and the heart of Alabama soul, Eddie Hinton.  Debbie’s mellow Telecaster lines are some of the best on the album and kind of spread around like butter drizzling over a stack of hotcakes.

Debbie Bond and Tom Pallardy at Mando Blues taping, Nashville, TN, photo - Brad Hardisty

Debbie Bond and Tom Pallardy at Mando Blues taping, Nashville, TN, photo – Brad Hardisty

Tarragona Blues” comes in two versions, one that goes right into a bossa nova blues soul groove with reference to both Spain and Alabama with”a long way to go” and the other with a big afro centric introduction that takes a different route, paying tribute to the fans in Spain who have welcomed Debbie with open arms and a place that she cannot wait to return to.  The Tru Dats changed up on this track with Ray Robinson on drums, Jonathan Blakney on background vocals and side percussion and Dave Crenshaw taking over on Latin percussion.

 

Rick Asherson checking the back line at Mando Blues taping, Nashville, TN, photo - Brad Hardisty

Rick Asherson checking the back line at Mando Blues taping, Nashville, TN, photo – Brad Hardisty

Rick pulls off a serious Charlie Mingus bass intro on “Falling” against Debbie’s difficult melody drop-in to set up “Move a little closer baby, I have a message for you” while, “That Thing Called Love” finds Rick doing the impossible by being Mingus yet again with one hand and Isaac Hayes with the other as Tom Pallardy slides in on sax in another corner of the room. Debbie enters in reverb drenched Tele that sets up a smoky groove and a preacher’s daughter throwing down thunder and lightning vocals.

Debbie Bond and The Tru-Dats, it's a wrap at Mando Blues, Nashville, TN, photo - Brad Hardisty

Debbie Bond and The Tru-Dats, it’s a wrap at Mando Blues, Nashville, TN, photo – Brad Hardisty

That Thing Called Love really has no boundaries within Southern Music whether it be Blues, Soul, Funk, Ragtime or Swamp Pop; Debbie had a good reason to change to Debbie Bond & The Tru Dats because of the serious musicianship that has been gathered for this recording. Every corner of the blues and every musician has a chance to shine on this exquisite live recording that everybody will want to take home to listen after a great show. -

Debbie Bond and Rick Asherson in Nashville, photo - Brad Hardisty

Debbie Bond and Rick Asherson in Nashville, photo – Brad Hardisty

Brad Hardisty, Nashville, Tn     thenashvillebridgeathotmaildotcom

Live Show at Third and Lindsley and Christmas Interview

Mike Farris and son, Christian first public performance together, Third and Lindsley, Dec. 21,2013, Nashville, TN, photo - Brad Hardisty

Mike Farris and son, Christian first public performance together, Third and Lindsley, Dec. 21,2013, Nashville, TN, photo – Brad Hardisty

“It was very special that my son Christian wanted to do “Let It be Me” by The Everly Brothers and doing it as a duet. It turned out to be the most memorable part of the show for everybody.” – Mike Farris

Miike Farris and The Roseland Rhythm Revue, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Miike Farris and The Roseland Rhythm Revue, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

Mike Farris and The Fairfield Four brought Nashville the Spirit of Christmas last Saturday night at Third and Lindsley to a sold –out crowd pulling out all the stops with special guests and great arrangements of standards and a few surprise guests at the end of the night.

The Fairfield Four, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

The Fairfield Four, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

The Grammy Award winning group that has a heritage going way back to 1921 beginning at The Fairfield Baptist Church, The Fairfield Four started out the experience with a strong accapella set of Gospel standards. The group was featured in the movie “Oh Brother, Where Art Thou” as well as the John Fogerty album Blue Moon Swamp on “A Hundred and Ten In The Shade.”

Robert Hamlett, The Fairfield Four, Third and Lindsley, Nashville, TN, photo - Brad Hardisty

Robert Hamlett, The Fairfield Four, Third and Lindsley, Nashville, TN, photo – Brad Hardisty

As The Fairfield Four finished up their set, everybody backstage had their eyes glued to the television monitor as the weather front was coming through downtown Nashville just as Mike Farris and The Roseland Rhythm Revue were getting ready to take the stage. Nashville had a warm front come through the last couple of days and the weather was getting ready to drastically change with possible tornadic conditions on everybody’s mind.

Mike Farris, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Mike Farris, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

After reviewing the weather conditions, the decision was made to hold off about thirty minutes to let the storm pass and see if there were any possible power interruptions.  After an all clear, Mike Farris and Company hit the stage with “What Christmas Means To Me.”

Mike Farris and The Roseland Rhythm  Revue, Third and Lindsley, 12/21/2013, photo - Brad Hardisty

Mike Farris and The Roseland Rhythm Revue, Third and Lindsley, 12/21/2013, photo – Brad Hardisty

This was the first time Mike Farris had put on a full Christmas Show and he seemed to have as much fun as the packed house. The arrangements were Jazzy, Bluesy and downright soulful.  The night proved to be a down home, all about Nashville Gospel and Christmas in the snow with a full roster of  Music City guests.

Mike featured Samson White and Hayley Reed on “White Christmas” which is one of the songs that Mike has done before and had the opportunity to develop even further this go around.

Angela Primm, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Angela Primm, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

John Primm, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

John Primm, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

There were special guests like well known Gospel Singer, Angela Primm who has sang with Andre Crouch, Patti Austin, Bill Gaither and Gretchen Wilson who was joined onstage by her husband John Primm that got everybody going with his Louis Armstrong impression on “Wonderful World.”

Mike had a first singing with his son, Christian on The Everly Brothers, “Let It Be Me” that amazed the crowd. Christian has a strong voice that will no doubt show off his own style and approach as time goes on.

Mike E as Prince, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Mike E as Prince, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

Things got hilarious when Mike E did a strong Prince all in purple who had showed up at the wrong venue on accident and decided to own the place with a strong version of “Purple Rain” right before Morris Day [Samson White] got everybody on their feet to do “The Bird.”

Mike Farris and The Roseland Rhythm Revue, Third and Lindsley, Nashville, TN, 12/21/2013

Mike Farris and The Roseland Rhythm Revue, Third and Lindsley, Nashville, TN, 12/21/2013

Mike Farris and The Roseland Rhythm Revue finished off a jubilant night with “Santa Claus Is Comin’ To Town” complete with Santa throwing candy at everybody before bringing in the spirit of the real reason for the season with “O’ Holy Night,” as a spirit of joy permeated the whole scene.

Mike Farris, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Mike Farris, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

It was one of those moments that should have been captured on DVD so that it could be shared with everybody else. As far as local shows go, this was the Christmas show to be at this year. After a couple of days of reflection, Mike Farris talked with The Nashville Bridge.

Brad Hardisty / The Nashville Bridge: That was really wild when the storm front passed right through Nashville after the Fairfield Four performed and right before you were going to go on.

Gale Stuart, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Gale Stuart, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

Mike Farris: Yeah, we were watching it on the big screen in the back and trying to decide what to do.  There wasn’t any tornado activity and it looked like it was just straight line winds. We were trying to decide if we needed to get people out of the balconies but then it looked like we just needed to wait for the line to blow through before we started our set and make sure the power was going to stay on. It worked out okay. When I got home, I had tree limbs down and stuff was blown around in the yard.

TNB: How long ago did you start working on this Christmas show?

Steve Roper, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Steve Roper, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

MF: We did a show with a couple of Christmas songs including an arrangement of “White Christmas” a few years ago and have been thinking about doing a full Christmas show ever since. We really decided that this year we were going to do a full show. I have a great band and they are able to see my vision and that is really a great thing to have. They are able to catch on to the arrangements and see where I want to go with that. They also came up with a lot of great ideas for the show.

Samson White as Morris Day, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Samson White as Morris Day, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

TNB: What about the comedy bits, Prince and Morris Day?

MF: Angie [Angela Primm] does a show called Still Waters, Christian Light Club. It’s kind of like the Cotton Club where she has people playing different characters and she does a swing set with Cab Calloway and others. After that, she does a set with tributes to Prince, Morris Day.  I got to be a part of that.Angie asked me if I wanted to have Mike E do Prince and we came up with the idea that he showed up at the wrong venue and it kind of went from there.

TNB: Did the show exceed your expectations? It did mine.

Oscar Utterstrom, Chris West, Jon-Paul Frappier, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Oscar Utterstrom, Chris West, Jon-Paul Frappier, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

MF: It sure did. We have already started planning on next year and it is going to be even better.

Paul Brown, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Paul Brown, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

TNB: You have great support here in Nashville and that filled that Christmas season void of the Blues/Gospel/R&B Community, especially with guest performers.

Derrek Phillips, Third and Lindsley, 12/21/2013, photo - Brad Hardisty

Derrek Phillips, Third and Lindsley, 12/21/2013, photo – Brad Hardisty

MF: I really appreciate that. I am hoping to do more than one show next year.

TNB: Was that first time you have performed with your son Christian onstage?

Christian Farris, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Christian Farris, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

MF: It was and it was very special that my son Christian wanted to do that particular song, “Let It Be Me” by The Everly Brothers and doing the duet. It turned out to be the most memorable part of the show for everybody.

TNB: I hope you got a board mix of the show?

MF: I didn’t think about doing that, but that is something we will think about for the future. I’d really like to do a Christmas album.

TNB: Are you all ready for Christmas?

Gale Stuart, Samson White, Angela Primm, Hayley Reed, Third and Lindsley, Nashville, TN 12/21/2013, photo - Brad Hardisty

Gale Stuart, Samson White, Angela Primm, Hayley Reed, Third and Lindsley, Nashville, TN 12/21/2013, photo – Brad Hardisty

MF: I had such a hard time with Christmas when I was a kid, but now I have my family around me and we actually listen to Christmas songs all year. It’s our favorite time. You now it’s all about Christ the Savior and that is important to me.

TNB: The band just sounded so great.

Michael Rhodes, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Michael Rhodes, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

MF: All the money went to benefit the musicians in my band. Whenever there is a benefit they always call musicians to come and play and they always do, but nobody ever stops to think that maybe the musicians could really use the help. I do a couple of benefits a year with my band and who knows how many they do besides working with me because they work with other people too.  That is the way that I want to do this in the future. I want this to be for my band.

TNB: It sounds like you really enjoy this time of year.

Gale Stuart, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Gale Stuart, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

MF: This is a special time of year, my wife and I celebrate our Anniversary on New Years as well. It’s a big time of year for us.

Mike Farris, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Mike Farris, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

TNB: I guess the new album should be coming out in 2014?

Mike Farris and The Roseland Rhythym Revue, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Mike Farris and The Roseland Rhythym Revue, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

MF: Yeah, it will be out before the summer tour. Merry Christmas everybody!

Mike Farris and The Roseland Rhythym Revue, Third and Lindsley, Nashville, TN, 12/21/2013, photo - Brad Hardisty

Mike Farris and The Roseland Rhythym Revue, Third and Lindsley, Nashville, TN, 12/21/2013, photo – Brad Hardisty

-          Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

Tristen performing at The Groove, Record Store Day 2013, photo - Brad Hardisty

Tristen performing at The Groove, Record Store Day 2013, photo – Brad Hardisty

2013 proved to be a year where Nashville didn’t make as  big an impact nationally as it should have with no major album from either Country or Nashville sub-genres making any real impact on any national or international best-of lists from Rolling Stone Magazine [other than Keith Urban noted] to Mojo or anything else in-between.

It’s not that there were not any releases with big expectations from our region, but apparently they didn’t catch on nationally or internationally for that matter. Missing in action on the best of lists were Kings Of Leon, Paramore, Jack White, The Black Keys, Taylor Swift and pretty much every record that Nashville Scene listed as the best this year including releases by Tristen and Diarrhea Planet.

Zac Brown continues to chart his own path in the Country music scene with his Southern Ground Festival, Southern Ground group of artists that is now headquartered in Nashville  and charting records that have more to tell; just recently putting out the Dave Grohl Sessions Vol. 1, the problem is, can one list a four song EP as an album? As an artist, I definitely can give Zac kudos for songwriting, performance and outright tenaciousness.

MODOC, Soulshine Pizza, Nashville, TN, photo - Brad Hardisty

MODOC, Soulshine Pizza, Nashville, TN, photo – Brad Hardisty

It’s not to say that these were not good records, but it shows the deepening divide between well crafted music and the ability to get it out there in some way where it becomes part of the collective consciousness and not just affect the local pub crawl or mini festival.

Most stateside best-of lists had Vampire Weekend at or near the top of their lists whereas in the rest of the world they might have made the Top ten in one major publication and barely scratch the Top 40 in other important music rags and blogs outside the United States.

Luther Dickinson, North Mississippi Allstars, Cannery Ballroom 2013, photo - Brad Hardisty

Luther Dickinson, North Mississippi Allstars, Cannery Ballroom 2013, photo – Brad Hardisty

Rolling Stone probably had one of the most bi-polar lists that included everything from real music artists to “entertainers” such as Miley Cyrus – Bangerz in their Top 40 list whereas Miley Cyrus isn’t on any major serious list outside the United States. Henry Rollins had a polite way of putting it this way: there is a lot of stuff that Rolling Stone writes about that isn’t on his radar.  Rolling Stone has gotten so far away from its original intent that the 360 label controlled deal signed Entertainers make the front cover regularly as well as politicians and a great amount of type space is spent driving home the Editors personal political point of view. I can’t fault them completely; there is the occasional Ginger Baker or Merle Haggard interview perfection. They even have a great local Nashville writer, Adam Gold, who doesn’t really get to write that much about the real Nashville. In a town where a 1600 word piece could be written every week about records being made and shows being played by regional Artists, nine out of ten articles are reviews of the previous Nashville TV Show plot.  Why don’t they give Adam free reign and really show what this town has to offer?

Tim Easton & JD Simo at Grimey's 2013, photo - Brad Hardisty

Tim Easton & JD Simo at Grimey’s 2013, photo – Brad Hardisty

As far as America’s perception of Nashville, I can’t fault the Nashville TV Show. There are some great aspects that I enjoy such as the cityscape backdrops and watching the “Live” performances to see who is playing in the band as well as T Bone Burnetts choices for locally written music. I always like to see folks like Colin Linden or Jim Lauderdale on the small screen!  I am still waiting to see JD Simo, Kenny Vaughan or maybe Dave Roe. Of course, if they put Joe Fick on there, he would probably steal the thunder away from the movie star. Honestly, Hayden Panetierre does really well playing a damaged girl that is trying to do her best to be good / bad at the same time. She has a heart of gold and a heart of stone that makes yin and yang seem as normal as Corned Beef Hash and Shrimp and Grits on the same plate. It just seems that when she tries to do something good she ends up screwing it up. I’m not sure if she is suppose to be bi-polar or her Mother smoked crack while she was in the womb but she sure does need the reassurance of her fans.

Mojo is probably the best music major publication in the world and they managed to have a list that was almost devoid of pop schlock and had an Artist, Bill Callahan – Dream River at number one that didn’t even make a stateside list.

In Mojo, Memphis inspired Mavis Staples – One True Vine sat at number 21 whereas it was not featured on any lists in any major American publications. What used to be true is still true, foreign music fans seem to appreciate real American Artists more than we do ourselves. Guy Clark’s My Favorite Picture Of You  as well as Jason Isbell’ Southeastern cracked some great lists without making a whisper on any stateside lists outside of Americana specific publications.

lorde pure heroineOkay, the Artist that probably really got the short end of the stick in all the lists was Lorde. Lorde’s Pure Heroine probably had more impact than any other record this year whether I like it or anybody else does. Lorde has already been ripped off by K-Tel style sound-a-like commercials for Boss and Victoria’s Secret.  They ripped her off as blatantly as if somebody had tried to write a commercial that sounded like “Honky Tonk Women” or “Brown Sugar” back in the day and just call it advertising Muzak. Lorde definitely brings more to the table than Lady Gaga’s “Fashion” going after David Bowie’s “Let’s Dance” instead of previous attempts at Madonna’s eighties catalog.

Okay, as far as local goes. I think Nashville Scene got it right for the most part, but, what about Ricky Skaggs or Modoc’s new albums?  There is a much larger alternative scene in Nashville than even where Nashville Scene went with its own list.

DeRobert & the Half Truths at The High Watt 2013, photo - Brad Hardisty

DeRobert & the Half Truths at The High Watt 2013, photo – Brad Hardisty

Although regional albums didn’t seem to impact national lists this year, there are prospects coming up in 2014. For one, Nikki Lane has those Dan Auerbach produced tracks still waiting for a drop date. GED Soul is putting out their first full length vinyl, De Robert & The Half Truths – I’m Tryin’ on January 14th. Jack White is putting out new music by The Dead Weather.  One could hope for a new Kenny Vaughan album or even a revolutionary new Country album like Miranda Lambert’s Revolution  or how about a historical Live recording like Jerry Lee Lewis Live at Third Man from a couple of years ago.

Probably my biggest anticipated Nashville area release will be the new Mike Farris album which has been a couple of years in the making and should get a release date some time in 2014.

With the prospect that album buying is an ever shrinking source of revenue and has started to become a vanity project for almost everybody but a major label 360 signed Artist / Entertainer /  Dancer / Avatar, will the “best of” album lists start to disappear and be replaced by the “best live” performances since that is where the hopes for revenue are? I can’t answer that one. I still buy CD’s and vinyl and I don’t buy shrill sounding MP3’s. That is my line in the sand. I like liner notes, credits and photos so downloads don’t do much for me.

Doyle Lawson at Simply Bluegrass, Nashville, TN 2013, photo - Brad Hardisty

Doyle Lawson at Simply Bluegrass, Nashville, TN 2013, photo – Brad Hardisty

It seems that music in people’s lives is as important as ever, yet twenty million views on You Tube might only translate into 80,000 units sold.  In this kind of environment, an Artist might be safer to build a following in a sub-genre such as Americana, Blues or Bluegrass and tour on that specific festival circuit rather than to try to get a grass roots following on some new angle of Indie music and try to build up from the clubs. The prospect of never getting bigger than the clubs and eternally couch surfing are enormous in the current all-music –should- be- free- to- listen- to conundrum.

I have to admit that bands are becoming creative.  The Cult talks about sending out “capsules” of music in the future such as three new songs every quarter. Jack White has printed different band names on the CD’s he has taken on tour to sell to make collectibles out of “tour bought” merchandise. Infinity Cat has put out different covers or changed up colored vinyl to keep its catalog collectible among label followers. Creative marketing is as important as creative songwriting nowadays. A limited quantity of whatever seems to be a “buy” even though it may only bring in a limited amount of money.

Will there ever be a big budget grandiose masterpiece like Rumours or Dark Side of The Moon in the future? Maybe not but, if so, it would probably come out of a big budget Kickstarter campaign for a complete vanity piece that may only sell 20,000 units due to current radio formats and the free listening or subscription services now available. If there are less units of such a great masterpiece out there than the original Ramones album, will it be found and enjoyed 20 years down the road?

I can’t give up on the fact that somehow the music business will survive in some fashion that will keep creative people out there producing something new. I love going to see a band live but, will there ever be a budget for Quincy Jones style production on real music and not the flavor of the month?

Anyways, my best of list is based on a couple of criteria. I like it and it is regional, as in, from the south or with ties to the south and not necessarily middle Tennessee. I’ll keep it to ten because there are 20 and 30 and 40 lists; why not just make it essential?

andy t nick nixonNumber 10: The Andy T Band and Nick Nixon – Drink Drank Drunk

Andy T has been a regular guitar slinger on the blues scene all around town after arriving here via California and Houston, Texas. Nick Nixon is a native son following in the tradition of the Jefferson Street scene. This mix of a stew of standards produced and mixed by Texan Anson Funderburgh was the strongest Nashville Blues record out this year with a definite Gatemouth Texas Swing Blues influence and got the two with their band on Blues Festivals nationwide in 2013. Stand-out tracks: “Midnight Hour” “Drink Drank Drunk” “Have You Seen My Monkey?”

ricky skaggs bruce hornsby coverNumber 9: Ricky Skaggs and Bruce Hornsby – Cluck Ol’ Hen Live

Ricky Skaggs has been an Ambassador of Bluegrass to the world and his collaboration with Bruce Hornsby on piano turned out to be one of the greatest live events of the past few years. This recording captured from a couple of those shows features some great jamming with Bruce Hornsby kind of going to the roots after having toured with The Grateful Dead years ago. The in-between banter gives the feel of really being there. Stand-out tracks: “How Mountain Girls Can Love” “The Way It Is” “The Dreaded Spoon.”

MODOC_AlbumArtNumber 8: MODOC

MODOC has had great song placement in the last year or so that has put their music on television.  MODOC just plain rocks and “Runnin” has been all over the local airwaves. This album still has some legs after its release in August and will get a vinyl release after the first of the year. The Indiana natives have really stuck to their guns since arriving in Nashville about three years ago and have really improved their song craft and play every date they can.  A solid album is the pay dirt. Stand – out tracks: “Runnin” “Coward” “I Want You”

patty griffin american kidNumber 7: Patty Griffin – American Kid       

You could say Patty Griffin is from Austin and you could say that Robert Plant is from England, but let’s be real, they spend a lot of time here in Nashville and therefore are just as much Nashvillian as most of us who come from everywhere from California to Australia and spend perhaps a good majority of our lives here in pursuit of musical nirvana.  This may be Patty’s current album as the reigning Queen of Americana, but Robert makes enough guest appearances to let you know he is there without calling it a duet album. The North Mississippi Allstars make an appearance as well. Stand-out tracks “Don’t Let me Die In Florida,” “Ohio” and “Highway Song.”

jason isbell southeasternNumber 6: Jason Isbell – Southeastern

215 reviews and this album is still five stars on Amazon. Southeastern should be on every Top ten list this year.  Unfortunately, this was mostly shunned by American media while in Britain and Europe, where The Drive By Truckers were treated like The Rolling Stones, this gets what it deserves. Muscle Shoals will live on forever and Jason is definitely one of the favorite sons.  There are guest spots by Kim Richey (“Stockholm”) and Amanda Shires on “Travelling Alone.” There are a couple of southern rockers but most of this set would go over well at The Bluebird Cafe. Stand-out tracks “Flying Over Water,” “New South Wales,” and “Super 8.”

tim easton not coolNumber 5: Tim Easton – Not Cool

Tim encapsulizes everything cool about Nashville in one album that includes members of Robert’s regulars from The Don Kelley Band, Joe Fick [The Dempseys} on bass and JD Simo on guitar. The recording puts you front and center listening to real new Nashville Honky Honk music. What a concept! People travel from all over the world to hear it, so why not put it out to the airwaves.  If you missed the in-store that featured JD on guitar at Grimey’s, you missed one of the best in-stores of 2013. The songwriting has some gritty stories and moves things out past toney East Nashville to Riverside.  The old plywood acoustic sits in the middle of the mix. This one sits somewhere between Dylan’s Nashville Skyline and John Mellencamp’s Sun records effort a couple of years ago.  Stand out tracks include “Little Doggie (1962)” and “Four Queens.” “Troubled Times”

north mississippi allstars world boogieNumber 4: North Mississippi Allstars – World Boogie Is Coming

What can you say when the first two tracks start out with Robert Plant on harmonica recorded at Royal in Memphis? The Dickinsons along with Lightnin’ Malcolm are taking us for a ride through Holly Springs on this essentially covers album that plays out like a Midsummer Night’s Dream where R.L. Burnside and Junior Kimbrough are still alive and Junior’s Place is still open for all night jams and ribs. Although Blues can let out your frustrations, this one puts on a smile and gets your groove going. Stand-out tracks

“Snake Drive,” Meet Me In The City” and “Goin’ To Brownsville.”

diarrhea planet artwork 2013Number 3: Diarrhea Planet – I’m Rich Beyond Your Wildest Dreams

Diarrhea Planet is probably the best live show in Nashville right now, especially if you like guitar. They one up Lynyrd Skynyrd with four guitars. I repeat, FOUR GUITARS!  Watching them is like watching a Jack Black music skit on SNL, but the guitar work is pretty good and they are always entertaining and have some strong music that is designed for live consumption. Stand out tracks:  “Separations” “Ugliest Son” “The Sound Of My Ceiling Fan”

guy clark my favorite picture of youNumber 2: Guy Clark – My Favorite Picture Of You

Guy Clark pays tribute to his wife and wears his heart on his sleeve and his favorite picture of his wife on the cover. My Favorite Picture of You is an introspective soul searching masterpiece that makes one stop after every song and process the lyrics they just listened to. If Nashville is about songwriting then this is this year’s litmus test. Stand-out tracks, “My Favorite Picture of You” “Cornmeal Waltz”“Heroes”

tristen cavesNumber 1: Tristen – Caves

Tristen proves a point that you can follow your muse no matter what style in Nashville and create something cohesive, beautiful and unique. If this doesn’t become the huge record it should then it will become a cult album that everybody will want to show their friend and turn them onto. If Mojo ever gets a hold of this one, Tristen will be over in England and Europe playing to sold out crowds for the next year and it will be tough to ever see her play in the backyard at The Groove on Record Store Day again.  Tristen comes from the world where Pop means great songs like The Beatles, The Smiths, Fleetwood Mac or Blondie. Stand out tracks: “No One’s Gonnna Know” “House of War” “Dark Matter” “Monster”

-          Brad Hardisty, Nashville, TN    thenashvillebridgeathotmaildotcom

MODOC Selected as FOX Sports Artist of the Month, iTunes “New and Noteworthy” Artist

MODOC, Soulshine Pizza, Nashville, TN, 2013, photo - Brad Hardisty

MODOC, Soulshine Pizza, Nashville, TN, 2013, photo – Brad Hardisty

Music to be featured across all FOX sports programming during the month of December, including college football and NFL coverage

MODOC, Soulshine Pizza, 2013, Nashville, TN, photo - Brad Hardisty

MODOC, Soulshine Pizza, 2013, Nashville, TN, photo – Brad Hardisty

MODOC returned to Nashville and was caught Live in the act at Soulshine Pizza by Brad Hardisty playing to a packed house out on the deck all sealed up from the extremely cold weather after getting major local radio airplay.

MODOC, photo - Brad Hardisty

MODOC, photo – Brad Hardisty

MODOC, Soulshine Pizza, Nashville, TN, photo - Brad Hardisty

MODOC, Soulshine Pizza, Nashville, TN, photo – Brad Hardisty

(Nashville, Tenn. – Dec. 10, 2013) Nashville rock band MODOC has been named FOX Sports’ Artist of the Month, with the television network currently airing the band’s music in a variety of its December sports programming.

MODOC, photo - Brad Hardisty

MODOC, photo – Brad Hardisty

Following Pearl Jam as FOX’s featured November artist, MODOC’s music has been licensed to appear across all FOX Sports properties in December, including College Football on FOX, College Basketball on FOX, NFL on FOX, MLB on Fox, FA Cup on FOX, UEFA, UFC, NASCAR on FOX and Fox Sports 1. “Fortune and Fame,” “My Way” and “Runnin’” are among the songs from the band’s most recent release that have been licensed for use.

MODOC, photo - Brad Hardisty

MODOC, photo – Brad Hardisty

Additionally, MODOC has been selected as one of iTunes’ “New and Noteworthy” Alternative artists, beginning December 10. The band is currently offering its new self-titled album via iTunes for only $7.99 as a special promotion through the end of the year.

MODOC, photo - Brad Hardisty

MODOC, photo – Brad Hardisty

“We’re really excited to finish out 2013 with these feature placements with FOX and iTunes,” says MODOC manager Eric Hurt. “This has been a big year for the band in its growth, and we’re really starting to open people’s eyes to the next big rock band coming out of Music City. I’m absolutely thrilled with how things are shaping up for 2014 and where MODOC is headed.”

MODOC, photo - Brad Hardisty

MODOC, photo – Brad Hardisty

MODOC, photo - Brad Hardisty

MODOC, photo – Brad Hardisty

“Joe Rangel from Hitcher Music called me and said, ‘I have a band you are going to love’ and sent me MODOC’s music,” says Janine Kerr, VP/FOX Sports Music. “I listened, loved what I heard and called him back immediately to let him know that the band definitely has a cool, unique sound. We are very excited to showcase MODOC as our December Artist of the Month.”

IMG_2361 small

MODOC, photo - Brad Hardisty

MODOC, photo – Brad Hardisty

MODOC, photo - Brad Hardisty

MODOC, photo – Brad Hardisty

The band released its first Daytrotter session on December 2 and will be issuing a limited edition run of MODOC on vinyl LP in January. MODOC was also selected as the featured daily artist on the worldwide music discovery app Band of the Day on October 24.

MODOC, photo, Brad Hardisty

MODOC, photo, Brad Hardisty

MODOC is: Clint Culberson (vocals, guitars), Kyle Addison (lead guitar, vocals), Caleb Crockett (bass, vocals) and John Carlson (drums, vocals).

MODOC, photo - Brad Hardisty

MODOC, photo – Brad Hardisty

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