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TANYA TUCKER: STRONG ENOUGH TO BEND

OPENS NOVEMBER 14 AT

COUNTRY MUSIC HALL OF FAME® AND MUSEUM

photo courtesy Tanya Tucker

photo courtesy Tanya Tucker

NASHVILLE, Tenn. (October 16, 2014) – The Country Music Hall of Fame® and Museum will explore the career of superstar Tanya Tucker with the exhibition Tanya Tucker: Strong Enough to Bend, which opens November 14, 2014, and runs through May 2015.

Tanya Tucker’s talent blossomed early, despite being born into poverty in Texas and raised in ramshackle apartments and trailers in Arizona, Utah, and Nevada. She began performing on local shows at age six, and within years was a regular on a Phoenix TV program. A Las Vegas agent sent a demo recording to Billy Sherrill, who quickly signed Tucker to Columbia Records. She was thirteen years old.

At the time, few child performers had achieved success in country music. But the singer’s husky voice and audacious confidence made her seem more grown-up. She proved as much when she walked into a Nashville studio, in March 1972, and announced to Sherrill and the veteran musicians, “Well, I know my part, boys. Do you know yours?” She proceeded to belt out “Delta Dawn” like a seasoned pro, and by summer the song was a hit.

Tucker assured her success by releasing six consecutive Top Ten hits—including the #1s “What’s Your Mama’s Name,” “Blood Red and Goin’ Down,” and “Would You Lay With Me (in a Field of Stone)”—in two years, all produced by Sherrill. The narrative songs told daring stories that courted controversy, and Tucker’s mature-beyond-her-years vocal style brought out the drama and emotion in each.

Tanya Tucker on the cover of the Rolling Stone

Tanya Tucker on the cover of the Rolling Stone

Two years into her singing career, Tucker appeared on the cover of Rolling Stone magazine—a rare national media spotlight for a country star in 1974. To her parents, Beau and Juanita Tucker, such recognition signified that their teen daughter had crossover potential that could take her beyond the country audience.

On October 10, 1974—Tucker’s sixteenth birthday—she signed a $1.4 million contract with MCA Records, a deal brokered by her ambitious father. Her seven years on MCA yielded the #1 hits “Lizzie and the Rainman.” “San Antonio Stroll,” and “Here’s Some Love.” In 1978, she recorded the rock-influenced album T.N.T. in Los Angeles.

In California, Tucker began dating singer Glen Campbell, twenty-two years her senior; their fiery, tabloid-filled relationship ended in acrimony. After a stint with Arista Records, Tucker signed with Capitol Records and reunited with producer Jerry Crutchfield, with whom she had worked at MCA.

TANYA TUCKER ©2009 photograph by Alan Messer

TANYA TUCKER
©2009 photograph by Alan Messer

Tucker’s 1986 album, Girl Like Me, featured four Top Ten hits, including the #1 “Just Another Love.” She enjoyed a long run of success on Capitol (and sister label Liberty), with a string of Top Ten hits through 1997, including three consecutive #1s, “I Won’t Take Less Than Your Love,” “If It Don’t Come Easy,” and “Strong Enough to Bend.”

Tanya Tucker heard her name called as the 1991 CMA Female Vocalist of the Year while lying in a hospital bed, watching the awards show on TV. Earlier the same day, she had delivered her second child, Beau.

Her first child, daughter Presley, was born in July 1989—a year after Tucker had checked herself into the Betty Ford Center over issues with substance abuse. Her third child, Layla, arrived in 1999.

For Tucker, the CMA award came at a time when some radio stations refused to play her music while criticizing her choice to be a single mother. The CMA award, the first of her career, proved that the country music industry at large continued to support her. The national media cited Tucker’s win, and her eighteen Top Ten hits between 1988 and 1994, as signs that country music reflected the evolving roles of women in American society.

Tucker detailed her colorful life story in her 1997 autobiography, Nickel Dreams: My Life. The singer also starred in her own reality show, Tuckerville, on cable network TLC. “Every one of us has good and bad times in our lives,” Tucker wrote in Nickel Dreams. “In my case, they have been to extremes.”

TANYA TUCKER ©2009 photograph by Alan Messer

TANYA TUCKER
©2009 photograph by Alan Messer

Modern Ozark Mountain Daredevils Bring Forth Loaded Baked Potatoes From Americana Dirt

pawns_or_kings_press_picture“The process of finishing this album was the hardest experience of our life. With equipment failure, the original album files being erased and three years of struggling with nothing to show, we can finally give you the album you guys deserve.”

“We offer this piece of us in hopes that it would pick you up when you are down or be there to celebrate the good times alongside you. Every second of every track was an independent effort by members of this band. We truly and humbly hope you enjoy it.”- Pawns Or Kings

Hailing from the Ozark area of Southern Missouri, Pawns or Kings have a unique take on the popular folk revival that is sweeping the world.

“Without the Ozark Mountains… there would simply be no Pawns or Kings” said Stengel during a recent interview. Members of the band grew up playing music together ever since junior high and have been shaped by a variety of influences from classic rock like Led Zeppelin to bluegrass legends like Ricky Skaggs.

Pomme De Terrre puts Pawns Or Kings in a realm inhabited by the likes of Mumford & Sons, The Avett Brothers and The Decemberists.

Preview Pawns Or Kings Pomme De Terre Here

pawns or kings pomme_de_terre

 

The End proudly presents Balance and Composure this Wednesday night along with Seahaven and Creepoid.

photo courtesy Balance and Composure

photo courtesy Balance and Composure

The band’s latest record The Things We Think We’re Missing debuted at #51 on Billboard’s Top 200 Chart and has been very well received in the media, garnering coverage from Pitchfork, Spin, Stereogum, MTV and Rolling Stone.

Balance and Composure rides the line between noise pop like Sonic Youth and the reflective inner sanctum of Nirvana.

Frontman Jon Simmons likes to deliver visual stories with the tone of Dennis Wilson and the mindset of a wave riding Billy Corgan on a dark beach set endless six footer drifting to the right.

The intervweaving guitars set the tone for this Pennsylvania quartet.

Their videos are always well executed,

balance and composure album cover-          Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

 

 

SAMMY KERSHAW GOES VINTAGE VINYL WITH

GEORGE JONES TRIBUTE ALBUM

 Vinyl Edition of Kershaw’s ‘Do You Know Me? – A Tribute to George Jones’ Available Now

 

photo courtesy Sammy Kershaw

photo courtesy Sammy Kershaw

Nashville, Tenn. (September 11, 2014) – As critics continue to rave about SAMMY KERSHAWs new George Jones tribute album, Do You Know Me?, the country music star is now making the album available in vinyl form.  The vinyl edition contains two LPs and is available now in select record stores and online at Amazon.com. “I decided to make this album available on vinyl because it seemed appropriate,” says Kershaw.  “Jones released all of his early records on vinyl because there wasn’t any other way to do it.  Vinyl gave his records that vintage sound that can’t be replicated so on my tribute to him, I wanted to do the same thing.” Kershaw tackles some of Jones’ biggest career songs on the 14-track album. The tribute includes Kershaw’s renditions of “White Lightning,” “Who’s Gonna Fill Their Shoes,” “The Grand Tour,” “He Stopped Loving Her Today” and “The Race Is On,” among others. Two all new songs, inspired by Jones, are also included and Kershaw recruited the “Possum’s” daughter Georgette Jones for the classic duet, “Near You.” 

Do You Know Me? was released on July 22 and debuted at #37 on the Billboard Top Country Music Albums Chart, landing Kershaw his first Billboard Top 40 album in more than a decade.

The tribute to Jones is produced by Kershaw and available through his label, Big Hit Records.

 

For additional information on Sammy Kershaw, visit www.sammykershaw.com or his official Facebook Page.

 

The Ryan Hurtgen Interview via The West Coast

Photo courtesy Perfect Beings

Photo courtesy Perfect Beings

Perfect Beings [My Sonic Temple]brings together elements that are well reminiscent of GenesisThe Lamb Lies Down On Broadway /  YesGoing For The One era Prog Rock with a new twist to a new era of sound with the spontaneous yet well thought out instrumentation recorded almost completely live with  strong vocals plotting out a rock opera for the modern chip ready times.

While Perfect Beings played it safe at first by posting the more ballad oriented “Walkabout” to YouTube, this only eludes to the multi-textured beast of greatness that goes from “Helicopter” with its “Going For The One” modern arena prog rock that could touch a lot of fans of the genre in the sweet spot of the ears that has been missing in music for thirty plus years to the 2112/Neil Peart style of ideas within the mammoth “Removal of The Identity Chip”  which could be a modern take on “Watcher Of The Skies”.

Johannes Luley during recording session. Photo courtesy Perfect Beings.

Johannes Luley during recording session. Photo courtesy Perfect Beings.

Founded upon the nucleus of guitarist, Johannes Luley [Moth Vellum] and vocalist / songwriter,  Ryan Hurtgen [Rene Breton], Perfect Beings does not disappoint on their freshmen release with like minded musicians, Dicki Fliszar [Bruce Dickinson] on drums, Jesse Nason  on keys while Chris Tristram [Slash, Marjorie Fair] manages some Chris Squire – Rickenbacker Bass squawk on some lines.

Although it is easy to reference some of the original prog era giants, Perfect Beings manages to hit some touchstones without sounding retro. It sounds fresh in 2014 and has been reviewed all over the web with very favorable quotes and every review, so far, on Amazon has given the album five stars.

To be honest, this will be the greatest prog album this year not only because they will make happy ears among die hard adherents, but, in fact, this is a great performance album that can sit on the top shelf with the above mentioned works as well as maybe Pink FloydWish You Were Here and it’s “Welcome To The Machine” motif.

Vocalist, Ryan Hurtgen is well known in East Nashville circles from a couple of years ago with his Rene Breton project. He made the move to California and in the end it has proven to be a really productive time.  Maybe it’s because he gets to surf quite often, or maybe it’s the So Cal attitude that works well. In any case, Ryan caught up with The Nashville Bridge to talk about this latest project and the meaning of music in these tumultuous unknown times in the music business.

Brad Hardisty / The Nashville Bridge: How did you get involved in this project?

Ryan Hurtgen during Perfect Beings session. Photo courtesy Perfect Beings.

Ryan Hurtgen during Perfect Beings session. Photo courtesy Perfect Beings.

Ryan Hurtgen / Perfect Beings: Johannes had two others guys that he had on a prog rock project that he wanted me to come in and sing on. I said yes but, I never even met those two other guys. They dropped out.  The other two guys that he was going to start the band with dropped out and they couldn’t do it anymore. They had kids so, Johannes was like, “why don’t you and I start our own project?”

TNB: So, you were in from the beginning of this project?

RH: Yeah, we found the other band members through the web and started the band.

TNB: Was the prerequisite that they had to have a feel for doing the prog thing?

RH: Oh yeah. It just happened to be that the drummer, Dicki, who has played with Bruce Dickinson, has a daughter that goes to school with Johannes’s son here in L.A. and they met at a school function and they were talking about it. Johannes said, “why don’t you come jam with us?” Dicki came and we got the concept and so then there were three of us and then he knew Jesse from when he was in another band and he was totally into Prog keyboard things and decided to join the band too. So, we needed a bass player.We tried probably ten bass players and we found Chris Tristram on YouTube playing along to a Yes song and he had like a 100,000 views and it was just sick!  Johannes was like this is the guy that replied to one of our craigslist adds and that is how we found him.

TNB: I noticed that Chris sounds like, right off the bat, half way through the first song “Canyon Hill” like a little bit of Chris Squire.

RH: Exactly. That was exactly the style we were going for and he uses a Rickenbacker bass. So, we were going to go with this other guy just because we had to get the project going and then he contacted us and we were like, sure. Automatically

TNB: A lot of the ideas are like sci-fi but they are real like “Removal of The Indentity Chip.” That is physically something that could happen ten years from now. Did you guys kind of look at it that way?

Perfect Beings cover art. Courtesy of Perfect Beings.

Perfect Beings cover art. Courtesy of Perfect Beings.

RH: It’s based off the 2013 book by Suhail Rafidi, TJ and Tosc that was based on the future and it is fairly possible you know? In twenty years. We understand what is going to happen, you know how globally with the international concern how they use the tool for future ideas. Asia kind of understands this so, things are based on darkness and light and the idea would make it easy for us to communicate through.

TNB: Tell me about some of the other ideas, like “Program Kid” and things like that.

RH: Well, it’s an Opera that revolves around TJ and Tosc. So, it’s a story from the beginning and  I wanted to keep the idea of maybe dying like the portal from life to death.

TNB: Have you guys been gigging out in LA yet or?

RH: We have been opening shows out here.

TNB: Are some of the established bands aware of what you are doing?

RH: Well, we are number one on the Prog Archives. We are definitely getting a lot of really good recognition.

TNB: The thing is it fits that style but it is not a regression to the 70’s, it’s like a modern take on it really.

RH: I think it’s pretty unique, I think there are melodies with production skills, I can break it apart and then build it back up. We didn’t want to make Pop songs. We wanted to make an operatic piece of music.  I almost think that the Rock community needs to get out of the past a little bit and kind of see what is happening in the future and see places in the future. I feel like they’re really stuck in the 70’s like nothing is ever going to get as good as the golden age. You know what I’m saying? Progressive has a lot to offer like Dream Theater

TNB: I think of what like King Crimson did. Twenty years later, they sounded totally different then when they started, in other words, they are always looking at a new approach.

RH:  It’s kind of funny because, we are like mining the past in order to tell a story about the future, but it’s time to be in the present.

TNB: You are one of the most interesting people I have met. I thoroughly enjoy your progression of what you are doing and the different things that you are trying to do.

Dick Fliszar, Drums, Perfect Beings in session. Photo courtesy Perfect Beings.

Dick Fliszar, Drums, Perfect Beings in session. Photo courtesy Perfect Beings.

RH: In this day and age, as far as a label, it’s like everything I’ve done is just like because I was interested in going in a certain direction. Johannes and I have encouraged them to do a drum solo and play just as hard and as fast as you can in a certain section and we are going to embrace the feeling of the day. We are just trying to have fun with it so then let’s make it as complicated as we can, you know. We are not thinking like “we need to have a radio single”. We are thinking, no, we don’t need to have to have a radio single.

TNB: It was the same thing as with Rush on 2112 when they were told by the label that they need something commercial  and they went totally the opposite.

RH: I remember that. It was a different culture back then. It would have been interesting to be a part of, you know. You’d have to dog your manager. I don’t know if that’s smart but, you know, artists really know what they are doing. I mean, the music industry  had these old cigar smoking guys trying to figure out what was going, so they just trusted the artist to know what was popular and what was good so you know, they got a lot of good music out at the time. Nowadays, it’s like the A&R people and the label think they know what people like and they have taken it away from artistic integrity, you know.

TNB: Yes. I think it is even more so with Engineers and Producers because of what you can do with Pro Tools.

RH: Right.

TNB: Imagine if they had “quantized” Exile On Main Street or if they had pitch-corrected Billy Holiday?

RH: Right, yeah totally.

TNB: I saw the clip on you tube about how you guys recorded and I assume you recorded live.

RH: It was a live recording, right. There is no manipulation. We did overdub but…

TNB: I know you have excellent pitch and I don’t know if you tweeked it a little but, if you did, it was a minor change because there is no metallic sheen on your voice other than a special effect on your voice on the one song.

RH: We wanted the effect of a machine so you can hear that effect but, those other songs, I sang those.

TNB:  Any ideas about touring or doing any gigs around California?

RH: We have to get some people involved first. We don’t have any kind of management or booking so everything has just been done by us. All of the recording process. We are doing all of our own booking. We all have jobs. Some of us have jobs that would make it pretty hard to be out on the road right now.

TNB: That can be difficult.

RH: Yeah. I don’t know what is going to happen.  It is going to take some time to make it happen. If it does, it will be mainly in Europe. We are getting a publicist.

TNB: Europe, that would be cool.

RH: I want to play but there are a lot of things that we need to do before we are out there touring.

TNB: All you need is money.

RH:  Why isn’t creativity, why aren’t real artists honored with money now? Why can’t artists make money now with the internet? Information is free and there is a plethora of noise you know.

Photo art courtesy of Perfect Beings.

Photo art courtesy of Perfect Beings.

TNB: It’s a scary thought. One guy is releasing his album on a satellite and Wu Tang Clan is doing only one vinyl pressing and they are going to take it around on tour and then they are going to sell it for a million dollars to recoup their cost. It’s just bizarre. In a perfect world you guys would be on Atlantic Records working with some A&R guy who is into Yes who would be calling every FM radio station to get you guys on the air. There would be stacks of records at Tower Records when the release comes out.

RH: Yeah, totally. You are right. It feels really strange to me because we just released it and like we have just gotten incredible five star reviews around the board. I think it’s a masterpiece of music.

TNB: I think it’s sits with the best symphonic rock albums.

RH: I haven’t gotten any call from any labels. I can’t get people to call me back in the industry. People who have got it and listen to it, have given us incredible praise. I have been doing this music thing for a while now. I haven’t really asked for much, I have recorded on my own, I have toured on my own, I have put out records thinking that at some point I will make something really good and I am going to get better and better and then eventually it is going to be recognized and I am going to have a career.

TNB: The only real way now to make money is selling your music to commercials or like ESPN like this local band MODOC did.

RH: Yeah, this record is a Progressive Science Fiction Rock Opera, like let’s go out and sell a Pepsi.

TNB: It’s right in there with masterpieces like The Wall.

RH: Yeah, our culture needs stuff like that.

TNB: It’s like you have to find satisfaction in what you do for yourself.

RH:  All I can say is as an artist I am going to continue making more music that is more challenging and that is why I wanted to do a Prog Rock project, because it was challenging. I don’t want to play into that mainstream system based around commercialism.

TNB: Hopefully it pays off.  There should be a double gatefold copy of Perfect Beings around.

Jesse Nason, Keyboards, Perfect Beings. During recording of the new album. Photo courtesy Perfect Beings.

Jesse Nason, Keyboards, Perfect Beings. During recording of the new album. Photo courtesy Perfect Beings.

RH: I guess at this point in life I can say whatever I want and just say who cares. It’s not like I’m mad anymore. It’s almost a shame  because of what’s happening with the internet and illegal down loading, record companies have shut down, but, it’s not just record companies, a bunch  of artists have lost money. A lot of studios have closed down. Not only that, but it is people in hometowns in record stores. There’s no Blockbuster video anymore. There is no local record store. You know, those were jobs for local kids. Those businesses employed local kids in small towns all across America. They worked at a record store and not only did they work at a record store but they perpetuated good music to other kids in that community. There was a place in that community for people to hang out and I think it is interesting that we wrote this record and that is has all of these dystopian concepts in it and yet you see it happening now even with art itself.

TNB: It’s almost like half of the people that buy records now are musicians themselves.

RH: Musicians have become the commodity. Now, photographers and everything, it’s like, now I have a licensing company, pay me so many dollars a month and I’ll pitch your song, but there is no guarantee you’ll get anything. So, it’s like you have predatory music companies that have popped up all around and for good reason because everybody has Garage Band [software] and everybody can make their own record now in their own room with beats and whatever. It’s like, “I made a record and I’m going to be on a TV show.” They will never get a placement but they are paying a $100 per month and these guys are making money off of them. I don’t mean to be all negative. I am happy that we were able to make this record and there are people into this and there is absolutely a lot of beauty in the world.

TNB: We really need a product that is going to save the music business whether it is music or whatever.

Chris Tristram, Perfect Beings during recording session, photo courtesy Perfect Beings

Chris Tristram, Perfect Beings during recording session, photo courtesy Perfect Beings

RH: Well, Neil Young is coming out with PONO now.  The PONO thing is a cool thing and how cool is it that we are getting away from MP3’s? I mean, talk about saving the music industry. It really makes music sound good again. The listening experience is really important to people now and people are really excited about listening to vinyl with really good speakers and having listening parties and shit. Until people change the concept of, “I can listen to this on my iphone!” and just plug it in and have MP3’s then it won’t improve.

TNB: It’s like, I have been collecting a lot of vinyl over the last couple of years. I will pull out Bob Marley and people say it sounds like “full spectrum”. I will do a side-by-side of “Is This Love” on a CD remaster and the original vinyl and you can see the bits of Bob Marley’s voice that are missing on the digital copy.

RH: That’s vinyl, man.

-          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

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