Archives for category: Music City
Lorrie Morgan Dana McDowell 1

Lorrie Morgan at Nashville Visitors Center, photo courtesy Dana McDowell

Multi-Time Female Vocalist Of The Year Award-Winner To Guest On SiriusXM’s Prime Country In Support Of New Album, Letting Go… Slow, This Weekend

NASHVILLE, Tenn. (January 22, 2016) – “If you think I won’t, just watch me,” are words coined by country songstress Lorrie Morgan in her Number One platinum-selling smash hit “Watch Me” (1992), and twenty-four years later, she’s still saying them.

While visiting the Nashville Visitor Center inside of the Bridgestone Arena prior to an interview on SiriusXM’s Prime Country, Morgan spotted a hot pink Project 615 t-shirt hanging on the racks with all of her long-time musical heroes listed on the front: Patsy, Loretta, Reba, Emmylou and Dolly.

So what did she do?

She grabbed a Sharpie and penned “Lorrie” right at the bottom.

“I probably shouldn’t have ‘vandalized’ the shirt like that,” Morgan said of the incident shortly after. “I just couldn’t help it. There it was dangling in front of me saying ‘don’t do it, don’t do it,’ so what did I do? I had to do it!”

“Patsy, Loretta, Reba, Emmylou and Dolly are country icons, and some of my biggest musical heroes. They’ve paved the way for so many females in the country genre, including me, and I’m very proud and honored to get to call them ‘friends,’” she said.

Lorrie Morgan Dana McDowell 2

Lorrie Morgan personal addendum, photo courtesy Dana McDowell

The daughter of country music legend George Morgan, Lorrie remains one of the youngest performers ever to grace the Grand Ole Opry stage, making her first and everlasting impression on the country music world with her father at the age of 13. She is also the first female country vocalist in history to achieve three consecutive RIAA-Certified Platinum albums: Leave The Light On (1989), Something In Red (1991) and Watch Me (1992).

Opening up to the world about some of her most personal trials and tribulations on what’s being pegged as her ‘most revealing album to-date,’ Letting Go… Slow, Morgan will appear on SiriusXM’s Prime Country this weekend as an in-studio guest on “The Charlie Monk Show,” airing Saturday, January 23 from 6 to 8 p.m. ET.

Lorrie Morgan Charlie Monk

Lorrie Morgan & Charlie Monk, photo courtesy Lorrie Morgan PR

On SiriusXM’s Prime Country, channel 58, Morgan joins long-time music industry veteran, Charlie Monk, dubbed ‘The Mayor Of Music Row,’ to talk about her over 40-year career, her life’s biggest challenges including the loss of her father, and husband country legend Keith Whitley, as well as what kind of new music fans can expect to hear on her first solo album project in five years, Letting Go… Slow.

Morgan’s career accolades include multiple CMA/TNN/CMT Awards, three platinum-selling albums, one double platinum-selling album, fourteen top hits and four Female Vocalist Of The Year awards and thirteen recorded albums. Her top-charting include “Except For Monday,” “Something In Red,” “Five Minutes,” “What Part Of No,” “Good As I Was To You,” “I Didn’t Know My Own Strength,” “Watch Me,” “Dear Me,” “’Til A Tear Becomes A Rose (with Keith Whitley),” among others.

Upcoming Tour Dates

Jan. 29 Kauffman Center for the Performing Arts – Kansas City, Mo.

Feb. 13 Downstream Casino Resort – Quapaw, Okla.

Feb. 20 Little River Casino Resort – Manistee, Mich.

Feb. 23 Grand Ole Opry – Nashville, Tenn.

Feb. 26 Horseshoe Casino – Bossier City, La.

March 5 Paragon Casino – Marksville, La.

March 12 Seven Feathers Casino Resort – Canyonville, Ore.

March 19 Georgia National Fairgrounds – Perry, Ga.

March 25 Golden Nugget – Las Vegas, Nev.

April 16 Grand Casino – Hinckley, Minn.

April 22 Shooting Star Casino – Mahnomen, Minn.

For more information on Lorrie Morgan, visit http://www.lorrie.com or follow her on Facebook and Twitter!

 

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See where the goal is at and support Marion James funeral this Saturday at Marion James Queen of The Blues gofundme site.

New! Official press release update below regarding funeral:

metro 50th marion james 01

Well, there are a whole lot of things about Jimi that were peculiar about him that we laugh about. So really, Jimi he was kind. One of the habits, I guess it’s natural for a person to do it but, I noticed that he never did like to wear no shoes. He would just walk barefooted you know.” – Marion James on Jimi Hendrix, September 2015

The Nashville Bridge: Do you think you will get up and sing with Jack Pearson?

Oh yes, I mean, you know, if it comes to that, I think I can cover it.” – Marion James on upcoming Musician’s Reunion Show, September 2015

Nashville’s Queen of The Blues, Marion James once known as “House Rockin’ James” back in the day when Jefferson Street was jumping with Live Music passed away where she always called home: Nashville, Tennessee on December 31, 2015.

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Marion James, photo – Brad Hardisty

Marion James kept busy helping others through The Marion James Musicians Aid Society as well as planning events such as the Annual Musicians Reunion which featured legendary Nashville Blues and related genre Artists as well as featuring more recently established artists ranging from Alabama’s Debbie Bond to local guitar and vocal legend Regi Wooten.

The first tribute to Marion James to be released was written by Nate Rau at The Tennessean which covered a great overview of her 60 year career.  There are great quotes by those who worked the closest to her, David Flynn [current President of The Musicians Aid Society] which has helped in times of need, the older musicians that trace their lineage to Jefferson Street for close to twenty years and Lorenzo Washington [Jefferson Street Sound] who released her last official recording, “Back In The Day” whose lyrics were about the biggest passion in her life; to tell the “Historia” [Marion liked to use the Spanish version of the word]as she used to say of Jefferson Street and the importance of the Jefferson Street scene in the history of Nashville’s musical past .

She was the strongest ambassador of the great sounds that came out of North Nashville during the time that she recorded the top ten hit in 1965 “That’s My Man” written by her late husband, James “Buzzard” Stewart. The single was re-released on vinyl as a limited edition recently on Record Store Day in the United Kingdom with the original Excello label.

“Buzz” Stewart was known as a great horn arranger and putting together a great band that backed Marion. The band featured great young players, like Jimi Hendrix who stayed in Nashville after being discharged from Fort Campbell, Kentucky along with a young Billy Cox [Jimi Hendrix].

Upon hearing of Marion’s passing, Billy Cox remembered one time, not too long ago, when he was in Los Angeles and Marion’s name came up.  He said it was surprising how many players were in Marion’s band at one time or another back in the day including Billy Cox saying that Marion also took him under her wing as a young musician.

Billy Cox is featured in the photograph of Marion James’ band that is on the cover of Night Train To Nashville Volume Two 1945 -1970 which was taken in 1971 after Jim Hendrix had passed away.

Marion James was included in The Country Music Hall Of Fame exhibit “Night Train To Nashville” as well.

Marion James even recorded a song by Billy Cox, “Find Out (What You Want)” for Nashville label K&J Records.

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Marion James at 30th Annual Musicians Reunion and Benefit, photo- Brad Hardisty

Marion James had a story about every great musician that set foot on Jefferson Street. One time she talked about riding with her girlfriend in the back of Arthur Gunter’s [“Baby Let’s Play House”] big car that he kept shined up for many years after receiving the royalties from Elvis Presley’s recording of his song which he had originally released on Nashville’s Excello records. She described how you had to keep your feet up since you could see the road through the rusted-out floor boards.

In recent years, Marion James had released recordings in the United Sates and Italy, most recently Northside Soul [Ellersoul Records] was recognized as one of the greatest blues recordings to come out in 2012.

While continuing her Musicians Awards show as well as the Musician’s Reunion, Marion was currently fundraising to erect a statue of Jim Hendrix outside the current Elks Lodge on Jefferson Street which was once The Baron Club, sight of the infamous guitar dual instigated by Jimi [Jimmy back then] Hendrix versus Johnny Jones who was headlining the club. During that fateful night, by all accounts, Johnny Jones got the best of Jimi but that was way before his days in New York City or London.

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Marion James, “Nashville’s Queen of the Blues” sings “24 Hours A Day” at Metro 50th Concert, photo – Brad Hardisty

Marion James last large stage performance was to over ten thousand fans as one of the headliners at the Nashville Metro 50th celebration outdoor concert which also included Emmylou Harris, Sam Bush and Del McCoury.

Marion became well known not only as a performer and recording artist but a songwriter and over the last two years she had been working on a gospel song which she hoped to include on a future full length recording.

Marion also hoped to one day return to the road in Italy where she had fond memories of performing in the past.

Marion James funeral will take place where her heart was at Jefferson Street Missionary Baptist Church, 2708 Jefferson St, Nashville, TN 37208 next to the Elks Lodge where her committee had been working tirelessly with support from the community to enshrine the Jimi Hendrix Nashville legacy this Saturday, January 9th 2016 at 11:00 AM.

A Marion James gofundme page has been established by current President of The Marion James Musicians Aid Society, David Flynn to help with the proceeding while longtime friend and music entrepreneur, Lorenzo Washington [Jefferson Street Sound] is working with Marion’s family members to make sure that all the details are complete that Marion had asked for.

UPDATE Jan. 5. 2015:

Contacts:

David Flynn davidflynn10@yahoo.com

Funeral services for Marion James, Nashville’s “Queen of the Blues,” will be held this Saturday. At 10 a.m. a horse-drawn carriage will convey her casket from Smith Brothers Funeral Directors, 706 Monroe Street, to the Jefferson Street Missionary Baptist Church, 2708 Jefferson Street.  A one hour visitation at the church featuring music will begin at 11 a.m. and the service will start at noon.  Several ministers and a series of speakers will celebrate the life of Ms. James.  She died of a massive stroke on December 31, 2015.

Marion James, 81, was officially declared “Queen of the Blues” by the Nashville mayor’s office last September after a lifetime of blues music and of helping others. She had a national top-ten hit, “That’s My Man”, in 1966, and recorded a number of CD’s over the years including Northside Soul released in 2012.  Jimi Hendrix got his professional start as a member of her band.  Ms. James founded the Marion James Musicians Aid Society, which for decades has helped musicians in need.  Her Musicians Reunion, a fundraising all-day blues festival, celebrated its 32nd year in 2015.

A gofundme account has been set up for those who want to help with her funeral expenses. The link is:  https://www.gofundme.com/marionjames .

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    Marion James – Nashville’s Queen of the Blues at 30th reunion, photo – Brad Hardisty

    Brad Hardisty, Nashville, TN

 

 

 

 

tower records movie

The Belcourt showed a few screenings of the documentary on the once great record outlet; All Things Must Pass: The Rise and Fall Of Tower Records which documents the once billion dollar music retail chain while trying to gain some understanding as to what happened to the great mothership of deep catalog outlets.

Tower Records Fresno

Tower Records Fresno, 1978, The Fresnan

So many of my teenage years were spent going to and deciding what to buy at the Fresno Tower Records location after opening in the mid 70’s next to a brand new Pacific Stereo store. While I waited for the “everything-in-the-store-for-the-same-low-price” sale that came every so often, I would go through every bin of vinyl as well as the eight tracks, cassettes and reel to reel releases.

I knew where everything was. I learned during the screening that Elton John has me beat. He knew where everything was at the Los Angeles store which dwarfed every other location back in the day.

I remember the day they opened at the strip mall on Blackstone. They had a rock trio on the back of a flatbed truck in the parking lot blasting through Orange Amp Stacks. They were playing ZZ Top covers. They sounded great and that was the first time I had ever heard or saw Orange Amps.

One time, they had a Wet T-Shirt Contest out in front and I was little embarrassed because a girl from my Drama class at Hoover High School who was 16 and posing as “over 18” won.

van halen women and childrenI finally got to the Sunset location in Los Angeles when I was down in the area with the Snow College Jazz Band in 1980. I purchased a copy of Van Halen Women and Children First on cassette for the car while we drove around Southern California.

After I moved to L.A.in 1984, I avoided going into the store for fear of spending my entire paycheck. I mainly would just drive by to see the big cover art displays and signage. I saved my dollars for the occasional purchase at a local record store in Costa Mesa, California because of my tight budget at the time.

the smiths how soonI noticed every store was different. It was like every location had its own vibe and bands they would push. I saw how big The Smiths were in Orange County at the Mission Viejo / Lake Forrest store near my work. The Smiths had their own display rack of every single they ever made.

ramones sheenaTower Records in Buena Park had a lot of Punk Rock and obscure Ramones stuff.

I actually made the trek to Tower Records when I lived in Birmingham, Alabama after seeing that there was one in Nashville, Tennessee. By the time I moved here in 2008, it was either gone or on the way out.

I remember FYE was there for a while but they never had the deep catalog of Tower Records.

the cretones

The last thing I bought from Tower Records Nashville was a Russian 2 CD set of the Best of Angel. Angel was difficult to find on CD. In fact, there are a lot of things that never were released on CD that were at the top of my list. There has never been a CD release of The Cretones Planet Records catalog. The Cretones were kind of like Elvis Costello & The Attractions if they lived near Joni Mitchell’s house in Laurel Canyon. In fact, three cuts made it onto Linda Ronstadt’s “new wave” album Mad Love including the title track.

There-in lies the rub: the turning back to vinyl for music lovers of all ages. I now own The Cretones first two albums in pristine quality for a few dollars as well as a couple of 7 inch singles.

The big question is how did Tower Records grow into a billion dollar business only to file for bankruptcy a few years later? They try to answer that question in the last fifteen minutes.

They talk about not selling singles. The youth quit coming and that meant death to future development business. The seven inch and twelve inch singles had the artwork and some exclusive B-Sides and mixes prior to the advent of YouTube. A CD single was not worth a dime. It still isn’t.

The other one was the price of a CD. The list price and average price was exorbitant. The actual cost of manufacturing was much less than vinyl so while this was to cover some marketing and the cost of promotional videos, much of this was a cash cow for the record companies and retailers that actually made the record business bigger than the film business in the Nineties.

The beginning of the end was Napster and file sharing. Lars Ulrich [Metallica] was right. At the time, he was demonized by other bands and his own fans for suing downloaders. If the record companies and bands had lined up behind Lars and took the whole file sharing scheme on in court and stiff fines were imposed for stealing music maybe the industry would not be where it is today.

It is missed opportunities like that which eventually drove the once gigantic Tower Records to be liquidated by its own creditors. It is hard to believe that every time a Tower Records opened up, there were hundreds of people lined up at the door much like an In N Out Burger joint opening is today.

The big chains are all gone and the small Mom and Pop shops and segmented Indie start up stores have taken their place. This is a mere ghost reflection of what sales figures were less than twenty years ago.

herb alpert whipped creamRecord buying was a part of almost everybody’s life whether it was Mom and Dad buying Herb Alpert & The Tijuana BrassWhipped Cream and Other Delights or some stoner blasting an 8-track of Black Sabbath Vol. 4 from a 1969 Chevelle SS with a 396 and tuck and roll interior.

Everybody was building their collection, a physical collection that was where friends and party goers gravitated.

Songs and records were a framed reference for friends, loved ones and events that transpired through the time space continuum. It was not background fodder or best of song lists in Pandora or Spotify.

There were jobs involved in the music business; everything from retail clerks to buyers, distributors, manufacturers, advertising and so forth. There are thousands upon thousands of jobs that are gone.

The one bright spot in the documentary was how Tower Records founder, Russ Solomon pushed to get a store open in Japan after a couple of investors came forward. He was met with a lot of resistance but pushed forward and in 1980 opened in Sapporo, Japan. As the business de-construction Managers came in, Tower Records was forced to sell off the Japanese division. Tower Records Japan exists to this day with 85 locations.

The implosion of the music business story begins to show a real personal toll as the story of Tower Records is told from the very beginning to the aftermath by Russ Solomon and the key players, some of whom breakdown telling the story of the final days of the once renowned Retail Giant.

  • Brad Hardisty, Nashville, TN

Celebrating Nashville Vinyl store finds and stating digital pundits are all wrong!

courtesy Brad Hardisty Private Collection

courtesy Brad Hardisty Private Collection

If you haven’t noticed, collecting vinyl records is becoming a huge thing among all age groups in Nashville. United Record Pressing has become so backlogged that they are expanding into another space. Record Store Day is like a city wide holiday with bands playing all day long at Grimey’s, The Groove and Fond Object.

*many hyperlinks go back to vinyl videos*

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

I caught the bug a few years ago after getting an original copy of Jerry Lee LewisBreathless” on 7 inch Sun Records while going through Bee Branch Arkansas on the way back from Branson, Missouri that I found at a vintage and junk shop.

I didn’t even have anything to play it on, since I have not owned a turntable since 1988. I even sold off my collection which was really large and deep and full of imports in the late eighties for practically nothing. I know I wasn’t the only one to do that.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

It wasn’t until I started buying some vinyl over at Third Man Records that I finally bought a turntable and the venerable receiver and speakers to go with it. It all started on Craigslist where I went through two old well-heeled Marantz and Sony Receivers that burned out after about a year each. The JBL near field monitors and home theater Subwoofers that I located have stood the test of time. I went through one Sony turntable where the line level pre amp fried before going back to Amazon and settling on a reasonably priced yet better sounding Audio Technica turntable. The Sherwood receiver I purchased through Amazon has specs right out of 1990 with 100 watts per side and has a great protection circuit that has stood up for two years.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Ever since that has been resolved, I have been able to concentrate on collecting. Most Collectors are going for the twelve inch 33’s and prices are increasing. I do have a paltry 100 or so “long-play” twelve inch records but I really wanted to hear the sound of the seven inch [45’s] records like I remember.

Post Sex Pistols, Courtesy Brad Hardisty Private Collection

Post Sex Pistols, Courtesy Brad Hardisty Private Collection

Post Sex Pistols, Brad Hardisty Private Collection

Post Sex Pistols, Brad Hardisty Private Collection

Just like 16 bit CD’s and 24 bit hi-def, analog has some rules to tone and bigger mid-range. Twelve inch 45’s are a whole other thing entirely that became popular in the eighties but I’m not going there. Let’s just talk about seven inch records. Although 12 inch 45’s are best known as dance remixes from the 80’s, my first experience was a French Sex Pistols release of “Anarchy In The UK” on that format in 1978 at a Punk Rock shop in Santa Cruz, California.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Seven inch records could be made with more bass and increased output without worrying about the needle skipping on the record. The 45 mix often will be a lot different than the album mix. The flip side or “B” side may be a song that is not available on a record. The mix may be different in other countries. I remember owning a French Polydor copy of Jimi HendrixVoodoo Chile” where the mix had been cranked up and the guitar sounded like you were standing with your ear up against the grill cloth. I used to play it for friends back in the eighties and watch their jaw drop.

The Beatles used to release songs either on albums or on seven inch singles. Eventually the singles showed up as a collection like the Hey Jude album or the double gatefold red and blue albums.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

In my own collection, there was a huge difference between the album cut of The Rolling Stones’ “Get Off Of My Cloud” where Brian Jones’ snaking lead notes were pronounced and the single where Keith Richards’ crunchy rhythm guitar is cranked up and really drives the song playing off of Charlie Watts’ snare. It made the difference between good and great.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

The Sweet talked about how when they found out that “Fox On The Run” was being released as a single, the members of the band went in and completely remixed the song with a much harder edge akin to Motley Crue than the album version. Sweet did this behind Management and Producers backs. They knew what it should sound like and took things into their own hands. They got everybody upset and mad even though the record did well. I’m glad that Sweet did that.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Another good thing about singles is that it was formatted for AM radio where three minutes was the goal and there were limitations to time versus physical size. While some edits were a little annoying some were appreciated if you just wanted to groove and not go into a “space-out mode” like the deleted bridge in the single version of “Whole Lotta Love” by Led Zeppelin. Not to mention, if you haven’t heard Led Zeppelin on seven inch like original cuts “Living Loving Maid” or “Black Dog” than you are in for an experience full of Bonham’s snare cracks and home stereo speakers that will turn into a Jimmy Page Marshall half-stack.

As far as actual tone, I read all the garbage between vinyl and analog buffs and digital hi-def die-hards and it really comes down to whether you like a lot of high frequency stuff that only dogs can hear in a world where a computer doesn’t recognize playing on top of the note or stretch tuning and changes the actual information as well as removing all the bits of sound that define a mid frequency instruments’ personality versus a couple of snaps or crackles and something that sounds very dynamic, alive and in your living room.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

You can take the test for yourself. I own a copy of Bob Marley: Legends on CD and a new old stock copy of “Is This Love” by Bob Marley & The Wailers. I did a side-by-side. The most important aspect is Bob Marley’s voice. If you only heard it on CD, you would never recognize the grit and air that make up his actual voice texture. They are gone in the digital realm. While digital is supposed to be more accurate, it actually sounds like a comical cheap imitation.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Another side by side would be Parliament’s “Tear The Roof Off The Sucker (Give Up The Funk) regarding the groove aspect. Not only does the vinyl single sound thicker and richer in the mids but the sharp edged funk of a tight group gets lost in the digital conversion as the numeric digital world has different numeric values for different frequencies and the groove of all the instruments locking together becomes nothing more than a cool drum pattern with a bunch of instruments that seem to clog undeniably slightly loose at every juncture. The true groove is gone in the digital realm.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

One more major complaint is what digital did to Duane Allman. I own digital versions of “Layla” and Duane’s slide sounds sharp and out of tune thanks to digital algorithms. If you listen to the vinyl album or single you’ll notice Duane is playing on top of the note [not out of tune] and it gives a lift to the mood at that point in the song. It is absolutely beautiful. Too bad Duane didn’t know that computers were going to make his slide out of tune and unlistenable.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Okay, enough of my own observations that seem to defy the logic of quantized digital junkies. If it is all about sounding “real”, “in your living space” and with a wide sound field then that needle dragging through a frequency groove like a work of art is the way to go. If you like snappy eighties style keyboard loops and auto tuned vocals then the current state of shared files should work for you just fine.

My Mother's favorite before she passed away in 1966, Courtesy Brad Hardisty Private Collection

My Mother’s favorite before she passed away in 1966, Courtesy Brad Hardisty Private Collection

When I started collecting, one of my friends here in town thought I was going to just go back and buy everything I used to own. I did go after some of that but there were a lot of things I missed growing up and there are songs that did well regionally here in Nashville and are readily available as opposed to many songs that I was into growing up in California.

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

For the most part, I grew up in Fresno, California from the last half of 2nd grade through my junior year in high school. That time spent in Fresno meant that my tastes are eclectic, all over the place and really just defined by musicianship, groove or originality.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

If I had to define Fresno during the seventies by five groups, it would probably be Tower Of Power, Supertramp, The Tubes, Sly & The Family Stone and Buck Owens. My personal taste goes way beyond that, but those would be five groups that anybody who grew up there would say, “Oh yeah, for sure they were big in Fresno.” I can name a song by every one of those bands that I liked as well as anybody from Hoover High School Class of 78 could as well.

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

You could add any horn band like Chicago, Malo or Blood Sweat & Tears. The biggest cover band was called March Hare [scan of Fresno City College school newspaper circa 1978, see page 4 , article on group called Windfall for more on March Hare members]. They had a full horn section and could play just about anything popular at the time and got paid the most money. They had a four piece, guitar, bass, drums and keyboards group called Spare Hare for a fraction of the full band cost.

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

My own personal taste ran the gamut of Hard Rock, Heavy Metal, Funk, Jazz, Punk and so on. I even liked some Country although it really was my parents’ music at the time. To give you an idea, I listened to Judas Priest, The Ramones and liked Power Pop like Raspberries and Pezband but my dream gig would have been to play guitar for Tom Petty & The Heartbreakers in 1977.

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

If I tried to collect everything from my past, I would be in deep for years and years.

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

There are particular records that I look for such as the three dominant records I remember from my earliest days in San Jose before my parents died in San Jose, California. I have purchased the trio. The Rolling Stones “Get Off Of My Cloud” was the first record I purchased at age 6, by myself, after my mother said I could pick something out. It is still one of my favorites. The other two were San Jose regional records that went onto the national charts, The Syndicate Of SoundLittle Girl” and Count FivePsychotic Reaction.” I did get to watch Count Five practice two blocks away from my Orchard View childhood home back when.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Just about any War single reminds me of Fresno, especially “Me And Baby Brother” which is in my 400 plus and building singles collection.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

In the mid-seventies, I was really into what was modern metal or Hard Rock at the time and singles like UFO, “ Too Hot To Handle” found in Louisville, Kentucky as well as Sweet flipside “Burn On The Flame” remind me of my early band years playing guitar.

As far as collecting goes in Nashville, the biggest amount and the most variety of seven inch records would go to The Great Escape on Charlotte Pike. Pricing is really reasonable. There are loads of $1.00 singles as well as collectables that for the most part are not over $10-a-piece. They put out their new inventory every Thursday and it is kept in bins by date if not in any kind of alphabetical order.

Courtesy Brad Hardisty Record Collection

Courtesy Brad Hardisty Record Collection

The Great Escape in Madison may not have as big a selection but will usually have different records then the ones found at the West Nashville store. The best thing to do, regarding The Great Escape, is to sign up for their email list and get notification when records will be off 20% or when they have their sidewalk 25 cent sale including the Bowling Green, Kentucky location.

I usually go for the 25 cent sales including Bowling Green, Kentucky and start digging around. It is important to go with no preconceived notions. It also helps to have some in-depth knowledge of decades of music. They used to have 10 cent sales but I don’t think that will be around again.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Examples of things I have found at 25 cent sales include a radio copy of Pat MethenyNew Chautauqua” which I never knew was released as a single until I found a brand new old stock copy at The Great Escape in Madison. I also found a brand new old stock seven inch copy of “Taboo” by Arthur Lyman. I remember “Taboo” from my Dad’s twelve inch long play records. He had installed a built in system in the living room and this was Hi-Fidelity recording. It was meant to show off frequency response and clarity but it would now be categorized as Lounge Music. It would fit in with a Martin Denny collection. I don’t think any of these records sold well in this format but it is so cool to have them on seven inch.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

In Nashville, there are a lot of radio copies around that ended up in retired DJ collections as the format declined and now they are all over town. A rule of thumb on seven inch radio copies is that in the 50’s and 60’s they actually spun the record numerous times and there can be a lot of wear on a very popular record and little wear on a record that did not take off.

In the 70’s and 80’s, AM radio used a tape cartridge similar to 8 track tape and would record the cut to be played multiple times on tape till it wore out and then would re-record on a new “Cart”. It is possible to find near mint radio copies from the 70’s and 80’s. I have found a few. My gem is a radio copy from the late 60’s of Big Brother & The Holding CompanyPiece Of My Heart” where Janis Joplin’s live performance rings clear and gives a front row seat of her performance. It gives me the chills. I paid less than $10 almost two years ago at The Great Escape.

Apple Records from Portugal, Courtesy Brad Hardisty Collecton

Apple Records from Portugal, Courtesy Brad Hardisty Collecton

Although it is easy to find several Excello record titles in Nashville, I have yet to find any of the three Marion James “Nashville’s Queen of The Blues” singles that were released here locally after years of searching. I guess I will have to resort to Ebay.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

There is no problem finding all the Country you want, especially mint new old stock copies of deep catalog Artists. I don’t know enough about that to make an educated guess. I do have Patsy ClineI Fall To Pieces”, plenty of Buck Owens and some Kris Kristofferson. Kristofferson singles are plentiful even on the smaller labels as he was really popular in Nashville as a songwriter. A good place for deep catalog new old stock Country would be Lawrence Record Shop down on Lower Broadway although I did find a Wreckless Eric single on Stiff Records as well as the previously mentioned Bob Marley copy of “Is This Love” at Lawrence Record Shop.

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

With current interest in Muscle Shoals, Fame Records can be found easily and I definitely look for Candi Staton and other Jimmy Hall produced gems. The Great Escape on Charlotte Pike usually has plenty of Fame Records along with all things Beatles and Elvis.

Since Nashville was a big hub for actual Music “Business”, there was manufacturing, distribution, recording, management and publicity that all had copies of material. There were warehouses and backrooms of vinyl that never got sold that now has found its way into used vinyl stores all over town. It’s not all Country either.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

While Grimey’s would be ranked number one for new vinyl in town, as far as used seven inch records, it’s best to go the to the Grimey’s Too [Preloved Store] and go through the two boxes on the front desk. That would be the most recent purchases. I recently found a radio copy of Blind MelonTones of Home” by doing just that. I was surprised to even see a vinyl radio copy release from 1992. I found a vintage radio copy of Judas Priest’ “Living After Midnight” as well for $1.00.

Grimey’s does stock the largest selection of local label seven inch releases. It is possible to buy a new record from GED Soul along with Infinity Cat and Third Man Records all in the same trip.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

The Groove is great for new vinyl but also has a decent stock of used seven inch vinyl. Because of its East Nashville neighborhood location, they have quite a few used copies of Alternative and Punk bands from the 90’s to the present day. If that is a specific thing, this would be a great place to check out. For me, I’m primarily looking for 60’s and 70’s but there usually is an 80’s record worth getting every time I stop by. This was the only place in town that I saw a single by The Jam. It was an import. I am looking for stateside releases since they are even harder to find.

Fond Object is an interesting place. This started from the owners’ own private collection, I believe, he was based out of Austin so, this store has a lot of late 80’s and 90’s Punk. Fond Object had stuff that probably was never available in Nashville in a retail used vinyl store. They actually had a copy of The Sex PistolsPretty Vacant” American release on Warner Brothers but they wanted $20 for it, so I passed hoping to get at a place where it would mean nothing like Lawrence Record Shop.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Third Man Records has just about every Third Man seven inch release in stock at any given time at their company store. My favorite non-Jack White single, Dan SartainBohemian Grove” was easy to find. Dan Sartain with Matt Patton [Model Citizen, The Dexateens, and The Drive By Truckers] on bass was part of the Birmingham Scene when I lived there. Third Man has been releasing a few Sun Records seven inch re-releases as well. The Raconteurs cut “Old Enough” with Ricky Skaggs still has never been released on vinyl at the home of the world’s fastest record.

Infinity Cat opened up their office to visitors with new vinyl behind United Record Pressing after having numerous fans show up at the door wanting to say “hi” on their visit to Nashville.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

That’s about it for seven inch records, except for, maybe the occasional find in an antique mall. After all, most of these records would be considered antiques.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

It’s always worth checking out the local shop when you’re out on the road. I stopped by Rasputin Records in San Jose when I was out in California recently and found the Record Store Day release of Junior Kimbrough and The Black Keys both doing “Meet Me In The City” [Fat Possum] which was impossible to find here after they were all immediately snatched up. Hill Country Blues is well known in Nashville, but the single had little value in San Jose, California. Apparently, the locals are clueless about Junior and there was a stack of copies available.

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

It was also easier to get a copy of Simo’s single through Amoeba’s website in California.

  • Brad Hardisty, Nashville, TN

Marion James also talks about music back in the day and Jimi Hendrix.

Marion James,

Marion James, “Nashville’s Queen of the Blues” sings “24 Hours A Day” at Metro 50th Concert, photo – Brad Hardisty

This Sunday, September 6th, will mark the 32nd Annual Musician’s Reunion at The Bourbon Street Blues and Boogie Bar in Printers Alley. Nearly a full day event, music will be starting at 3pm with the doors opening 30 minutes early. This year there will be over 20 Artists from Nashville’s storied past Jefferson Street scene to current up and coming Blues, Rhythm & Blues, Gospel and Soul.

Featured Artists will be recently signed nationally known Nashville act The Andy T Nick Nixon Band [Alligator Records] as well as local favorite Jack Pearson and many others.

Marion James - Nashville's Queen of the Blues at 30th reunion, photo - Brad Hardisty

Marion James – Nashville’s Queen of the Blues at 30th reunion, photo – Brad Hardisty

The first Musician’s Reunion show that celebrated the heyday of the Jefferson Street Sound and honored those that had passed away during the year was so popular the first time that it has become an annual event.Marion James “Nashville’s Queen Of The Blues” spearheads the event with the support of the Nashville Blues Music Community. Marion James is known for having Jimi Hendrix in her backing band back in the day as well as the top ten hit “That’s My Man” [Excello]. That song was re-released on 7 inch vinyl with the original Excello label on Record Store Day in 2014 in England and sold out quick. Copies can be found occasionally through Ebay as well as all of Marion James catalog .

marion James Hound DogMarion James went on to release a couple more singles with songs written by Larry Lee [Jimi Hendrix – Gypsys, Suns and Rainbows] who performed with Jimi at Woodstock as well as long time Jimi Hendrix bassist Billy Cox who also worked with Marion back in the day.

Marion James thats my manMarion has recorded a string of CD’s over the last two decades and continues to perform at special events around Nashville. Marion discussed a little of this and a little of that with The Nashville Bridge.

Brad Hardisty / The Nashville Bridge: How many years have you done the Annual Musicians Reunion Show?

Marion James: This is the 32nd.

Regi Wooten at 2013 Musicians Reunion, photo - Brad Hardisty

Regi Wooten at 2013 Musicians Reunion, photo – Brad Hardisty

TNB: What was your favorite one that you did, what year?

MJ: Well, my favorite one was the first one.

TNB: What drives you to put these shows together?

MJ: I’m just used to it. I’ve been in show business for practically all my life. My husband [Buzz Stewart], he was a Musician and also an Arranger. So, it inspired me to go on to sing in the music field.

TNB: How many records did you actually have out? Has it been three singles and several albums in the last ten or twenty years?

Marion James find out what you wantMJ: Yeah, about three singles. The rest of them were CD’s. Not records.

TNB: What are your favorite songs to sing right now?

MJ: There is one of them that I am looking forward to recording again before this year’s out. It’s one of my friends who has been into the music for a long, long time. He sung this song and it was a hit called “I Need your Love So Bad” by Little Willie John. I really like that tune.

TNB: Little Willie John, cool! You’ll have some originals as well that you are working on?

John Richards at 30th Musicians Reunion, photo - Brad Hardisty

John Richards at 30th Musicians Reunion, photo – Brad Hardisty

MJ: Yes, I have. I’ve got two songs that I have wrote.

TNB: What’s been your favorite time, musically, in Nashville? Do you like it now or did you prefer it back in the 60’s or 70’s?

MJ: I liked the 60’s and the 70’s. If you are speaking of music, some of these songs that they’re singing now, they are getting’ away with a lot. I mean, back in the day we had to sing the melody right and the songs tell a story. But nowadays, you got a few that will get up and take one line and sing it one line all the way through and get away with it. But, back in the day we didn’t do that. We sung our songs and we played our music.

TNB: Back in the day, I know that’s a theme that brings back to memory the Jefferson Street scene. You also recorded a song called “Back In The Day” a couple of years ago. Do you remember how it was when there were a lot of clubs and a lot of things were going on?

MJ: Yes, it was very much active. You had a lot of musicians and there had been a lot of vocalists that was doin’ it at that time.

TNB: You could probably go see somebody play live about every night back then.

Debbie Bond, photo - Brad Hardisty

Debbie Bond, photo – Brad Hardisty

MJ: Yeah, they had a club just about every other block on Jefferson Street back in the day. They had a different act in each club. You went in and you really enjoyed it because it wasn’t the same thing all the time. So, if you go out on the weekend and say “Well, I’m goin’ clubbin’,” you could start from 6th and Jefferson all the way out to 31st in Centennial which was a Dinner Club. There was a different act all the way.

TNB: Wow. What were some of the big names that you really liked listening to?

MJ: There was Little Richard, Otis Redding and Hank Crawford was going to school at Tennessee State University. On Sunday, Hank would have the jam session at 28th and Jefferson in a little Restaurant there they called Hayes Rendezvous and all the students would go there at three o clock on Sunday and they would have a jam. All the musicians would come in and play. There was a musician, Charlie Dungers, that would play up and down Jefferson Street and he was great. He went away from here for a while and he was playing all over Europe and then he decided to come back home and play his music and also he taught at Tennessee State University. I think it was strange he was still teachin’.

TNB: I remember now that you’ve told me about Jimi Hendrix playing with your band back then for a while. Do you have any funny stories that you remember?

MJ: Well there are a whole lot of things about Jimi that were peculiar about him that we laugh about. So really, Jimi he was kind. One of the habits, I guess it’s natural for a person to do it but, I noticed that he never did like to wear no shoes. He would just walk barefooted you know.

TNB: I’d heard that he carried his guitar around either without a case or in a paper bag or something. He didn’t ever have a guitar case.

marion james night trainMJ: Yeah, yeah, he did odd things like that. He really did, you know. Like I said, he was a nice guy, very nice to go around with also. He was on the quiet side. I don’t know how you would say it but he never was a person that was always on a run all the time. He was just calm and quiet, you know.

TNB: Now when he got on stage though he kind of commanded the stage quite a bit, didn’t he?

MJ: Yes. Yes. Yes. Yes, he did.

TNB: He liked to show off a little bit I guess.

Samuel L. Dismuke Jr., 30th Annual Musicians Reunion Show photo - Brad Hardisty

Samuel L. Dismuke Jr., 30th Annual Musicians Reunion Show photo – Brad Hardisty

MJ: He loved to show off and play that guitar. He came up with that act with trying to play the guitar with his mouth and all like that. He was a pretty good showman, you know.

TNB: Who are you looking forward to playing at the Musician’s Reunion show that is coming up?

MJ: I’m looking at Jack Pearson and Scott Holt. They are my two favorites when it comes to playing guitar. Jack Pearson was on one of my CD’s that I recorded. He did a marvelous job.

TNB: Do you think you will get up and sing with Jack Pearson?

Courtesy Marion James

Courtesy Marion James

MJ: Oh yes, I mean, you know, if it comes to that, I think I can cover it.

  • Brad Hardisty Nashville, TN

Adley shares her experience about best friend Miss Oklahoma Olivia Jordan and the Miss USA Pageant on the eve of the release of her collaborative writing effort How They Sell Music on a full blown steam locomotive of a year!

Adley Stump  performing

Adley Stump performing “Little Black Dress” at Miss USA Pageant 2015, photo courtesy No Problem! Marketing

Adley Stump has followed her second season on The Voice with hard won efforts that have collided into a Super Nova this year. As a spokesperson for Little Black Dress Wines with the song “Little Black Dress” and a new video for “Stay At Home Soldier” set the stage for an appearance as the featured performer at the Miss USA Pageant this year after other performers pulled out because of comments by Donald Trump, her story of friendship with Miss Oklahoma who won the competition a few short weeks ago took center stage.

It could be called providence, but a book about the current state of affairs in the music business, How They Sell Music will continue to put her name and face out to an ever bigger umbrella of fans and musicians as she develops her own path to success in Nashville.

Adley has settled into her Nashville roots as the music business has been turned upside down. Country Music still has a traditional path to success but many avenues have opened up for Indie Country artists to strike out on their own albeit with lots of roadwork and looking at every opportunity there is including pairing with manufacturer promotions and being a dealmaker.

Adley shared some of her current insight with The Nashville Bridge.

Brad Hardisty / The Nashville Bridge: I know you were a feature performer at this years’ Miss USA Pageant. Donald Trump’s recent statements created some big issues that put the pageant in the news. It seemed to turn out to be a great experience. Do you want to talk about your performance?

Adley Stump: Absolutely. Man that was one of the most special nights of my life and all. Miss Oklahoma Olivia Jordan had been my best friend since the seventh grade. She moved to L.A. to pursue her dreams the same week I moved to Nashville.

TNB: I bet it was strange to see artists pulling out of the Miss USA Pageant just a few days before it were to air.

Adley Stump Live at the Miss USA Pageant 2015, photo courtesy No Problem! Marketing

Adley Stump Live at the Miss USA Pageant 2015, photo courtesy No Problem! Marketing

Adley: I got the call after the other entertainment backed out. It was about six days before the pageant. I was the only feature performer of the night. It was really amazing. The best part was being able to share that with her. Knowing that Olivia went on to win, the Producers and all knew how close we were and everybody was routing for her. She has genuinely been my personal role model and best friend. She is one of the best people you could ever meet. No doubt in my mind. America is just going to completely fall in love with her. She’s incredibly smart and incredibly genuine. I’ve never been more proud of anybody in my life. I am still on cloud nine from that weekend. I have been watching how fast her life has changed. They whisked her away. She has a new phone number. She has body guards now. They moved her to New York that night to stay in one of Trump’s buildings up in the Penthouse. It is just amazing what this year is going to look like.

TNB: What song did you do at the Miss USA Pageant?

Adley: I was supposed to do two. One of them did not get cleared until three days before the pageant. The song I ended up doing was incredible, it was an original song which felt pretty cool it’s called “Little Black Dress.” It fit perfect for their evening wear walk. The other song was off this last album as well so that felt pretty cool to sing an original. That was really special.

TNB: You have had a pretty busy year in combination with the new song “Stay At Home Soldier” and also the book How They Sell Music; Lesson From Celebrities On Creating Your Own Success [with co-author Bubba Sparxx]. How did the book thing come about?

Adley: I started it. Being in Nashville, I’m sitting here every day thinking people should be a fly on the wall in some of these conversations that are happening all up and down in coffee shops and book stores. I have been blessed to have an amazing group of relationships with artists all over the world that don’t get to be here. They would kill to sit with some of these people and just hang and say, “Can I pick your brain for just a minute? Can I get some advice?”

TNB: What do you think people want to know about the Nashville music business?

Adley: They want to hear from people who have done it and who are doing it, something different than what they are able to find online on blogs. I didn’t want to talk with management. I wanted to talk to people who have done it on their own. Questions like how do I get somebody a demo? When do I not? That’s the kind of real stuff that they want to know that can help them. So, I take twelve artists. Some are You Tube stars; some are touring and became platinum selling artist on their own.

TNB: I imagine you get twelve different stories.

Adley: Everybody kind of has a different story from a different genre but it kind of becomes a real good rounded look at the industry. There is a lot of really tangible take aways that you can apply to your own career. The best tips and tricks of those who did it.

TNB: Is it more than how and when to get demos to people?

Adley: You get their advice for approaching satellite radio or they talk about how they got five million You Tube subscribers here. I write my strategy for attaching You Tube for collaboration with peers or how I di X, Y and Z. It is really great for them. So, that has been a passion project of mine putting it together over the last year and a half. I really haven’t pushed it that much because our big launch is with Amazon this month as a partner and that is going to very, very exciting.

TNB: Do you have a book signing coming up?

Adley: This is the only day that I am in town along with one other day this month. We are going to celebrate it at a couple of upcoming shows. But, as far as something in town, I’m kind of waiting to see what the result is going to be because of amazon’s participation on its release. I’m not just throwin’ it out there.

TNB: Do you feel that the Country Music is changing enough that you have to be your own brand and be a self- starter?

Adley Stump promo 02, photo courtesy No Problem! Marketiing

Adley Stump promo 02, photo courtesy No Problem! Marketiing

Adley: One hundred and ten percent. That’s really what I’ve been since day one. My office is right there on 16th and Edgehill and every day I’m watching people just sit back and wait for somebody to realize that they are talented and everybody is talented. No one else is going to help you. If you think about it; if you were in any other industry like a toy company you would never sit back. People would call you crazy. You wouldn’t say, “I have an amazing toy and I am going to wait for someone to realize how awesome my toy is.   Come develop my toy for me and put money into my toy and distribute my toy and market my toy because it’s so awesome.” You’d be like, you’re crazy! You have to do that for yourself. You have to show, in my opinion, for this to work and have longevity and have a career that you really have some control in it and have the leverage to be able to get a deal.

TNB: I am sure not everybody has the skill to market themselves.

Adley: Lots of people, they find after two years that now they’re dropped [by their label or publisher]. I think you have artists knowing to do the work on their own now and it’s to exceed what artists define as success, to be one of those artists willing to take on the work. The more that I have done that and not waited for someone else to tell me what I can do, than I can be successful in the manner in which I am going to do so.   It’s really empowering. You know you really can create a true entrepreneurial adventure to the inth degree of what you are in business for. You have to treat it like that. A complete full body, full mind and full spiritual focus to get to where you wanna go.

TNB: You are kind of self-contained in the sense that you are a songwriter, as well right?

Adley: Yes, yes.

TNB: Do you think that nowadays it is going to be harder to just be a vocalist as opposed to being a singer/songwriter?

Adley: I think they need to go hand in hand. Yeah, whether, you are independent and you are looking for a major label deal they are going to have you start writing anyway because of your publishing [royalties] if you are going to make their long term return. So, I think yeah it is creating more a part of the puzzle. I get fired up when I talk about this. I would never say, Brad, you got to go see this girl she is like a little bit of good but at everything. This girl sings her ass off or she plays guitar like crazy or she’s hilarious, whatever it is. I think it is a matter of knowing your strengths just like you would have to in any other industry.

TNB: Knowing your own strength and abilities is absolutely key to the situation.

Adley: You go with your group. You know where your strengths are and you go in there instead of trying to equalize and bring up your weaknesses. It’s the difference between knowing their strengths better than everybody else in their corner and not spending ten hours a week on production, ten hours a week on getting better at guitar, ten hours a week on vocal lessons, you know, I think you really have to be very self-aware and know your DNA and figure out how you can position yourself in the market.

TNB: What do you think your strength is?

Adley: I bet my strength is the business aspect of it, creating a product. I do want to write but you know it’s not just sitting there and writing every day and creating every day. If I want to actually be heard I have to take it upon myself to make it and be heard. A strength of mine has been partnering and having massive visibility and offering value propositions to them as to why it would be a no-brainer to partner with me. Right after I got off The Voice, I partnered with Little Black Dress and now I am working with Remington Arms and Logan’s Roadhouse.

TNB: It’s important to look at different opportunities outside just trying to retail.

Adley: Well, take for example my friends that` are on Sony. They are not getting shelf space at Walmart and Kroger and all of that but we are taking 90,000 bottles [Little Black Dress Wines] in just one region putting bottleneckers on them and giving away the “Little Black Dress” song for free and it’s clickable to go right to the website to see the rest of the album. I do an email chain to where I can watch that conversion rate. Now we are in Kroger and we are touring Kroger’s now. We tell them I will come in and do a performance or a radio remote or we will do a bottle meet and greet. Kroger buys a hundred cases of wine to facilitate that. They sell more wine and I get my music in Kroger and visibility in Kroger that matches the supply chain and get to stay on the road. I can sell more of my music independently. I get the numbers up in the media. It really is just a lot of strategic alliances. I do think for the independent artist the trend is going to swing that way as far as keeping the lights on in the short term.

TNB: Do you think that by showing people the business model in your book that it shortens the development time?

Adley: I don’t think that everybody can replicate the same business model. It goes back to knowing your strengths. I don’t want to fit in a van every day and go out and tour every day to build up in indie clubs. The power of TV is for me.

TNB: It seems like TV or radio still has to play a part to get widely known.

Adley Stump promo 01, photo courtesy No Problem! Marketing

Adley Stump promo 01, photo courtesy No Problem! Marketing

Adley: Yes, you’ve got to have TV or radio. It’s still the 800 pound gorilla for becoming a household name. Radio for independents is pretty much a crapshoot. You know, unless you, somehow, win the lottery. I’ve been an independent artist for quite a while. It’s really a marriage of getting together the right team, the right song, the right look and timing. The perfect storm. I think with the average artist you wouldn’t say”Hey, here is a half a million dollars! Go drop this into radio.” I’ve known independent artists to spend a million dollars on radio and they have a ton of tracks and they have TV and it didn’t work. I think if you have a half a million to spend, I think you can get a lot more return and visibility outside of radio because you are going to have to keep putting money into radio once you are there and that’s your mode of operation. So, for the average artist, I wouldn’t recommend it.

TNB: Wow, it seems like do I spend money on radio or not is a huge question for an independent artist.

Adley: I think it’s all different. There is no formula. There is no guarantee. Traditionally, the road is how you are going to build a music career. It’s gonna take several years. You have to want it as bad as you can breathe to be able to stay in there. It’s not chasing a dangling carrot that’s been out there in the distance because I believe God changes the method in which you get to that goal. I think you have to be really structured and struggling when it comes to your goals and what you want. You have to be really flexible in the methods to get there.

TNB: It’s strange how an Artist can be struggling and all of sudden things click.

Adley: The doors can swing wide open sometimes and when they swing wide open, you never saw it coming but, you’re hopeful.   Along the way, it could be something totally unexpected that’s going to be the biggest blessing at that time in your career.

TNB: We didn’t get much of a chance to talk about your last single “Stay At Home Soldier.”

Adley: On “Stay At Home Soldier” we have used brands to capitalize on the launch with a decent amount of success. It’s a single that has been very exciting for me because it is different than the typical commercial single release; it’s going to take you back to the genesis as to why I’m an artist in the first place. It’s to write music that meets somebody where they are. We’ve put ourselves as songwriters in situations that we are not always in and this is definitely one of those. This has been a really special release for us.

  • courtesy No Problem! Marketing

    courtesy No Problem! Marketing

    Brad Hardisty, Nashville, TN

justin townes earle single mothersJustin Townes Earle continues a musical dialog between his fans and his Book of Life with his most recent venture Single Mothers.

Enough has been said in interviews about the influence on songs like “Single Mothers” which talks about absent fathers and what he had to deal with on a personal basis.

Rather than do a track by track analysis, let’s just get down to what I see flipping through this new deck of cards.

Justin has had a love/ hate relationship with Nashville going back to The Good Life when I met him after the release at The Basement when Justin was doing one of those small gigs right before things really took off. It looks like Nashville is back on deck for this one and is not found lacking what it did before.

Recorded at extremely yellow Quad Studios, Single Mothers screams Nashville, particularly East Nashville with its vibe and current subject matter. This album spotlights what makes Nashville such a cool place right now; Something old, something new, something borrowed (not sure about this one other than maybe a little Jonathan Richman vocal motif), something blue.

While it sounds like a stripped down Nashville Skyline, dripping with Paul Niehaus’ pedal steel and sounding like right before closing time at Robert’s Western World after the last call, much of the actual song structure is very classic Muscle Shoals era Alabama soul ballads.

Justin seems to have found that the Nashville era of 2007 has changed for the better and is now flexible enough to become his playground again.

I have enjoyed the changes that have gone into all of his catalog as the last several years have gone by. Single Mothers seems to flow right off Midnight At The Movies in a very de-structured way. The tracks almost sound like clean demos with the lyrics loud enough to decide how the actual music will feel later. It reminds me of how Keith Richards described in his autobiography, Life, about The Rolling Stones recording process. Keith said that much of what was released in at least the middle period with Mick Taylor were actually demos and they would always talk about recording a proper version of the song later. In the end, they would decide they couldn’t improve upon the original jam and they would release it as is.

Everything about this represents the best of Nashville even down to the photos by Nashville’s very own music photographer, Joshua Black Wilkins.

There was a time when music was a true reflection of the guy who put the album on the turntable. Somehow, multitudes of people found a connection in what certain artists were saying and felt a certain rhythm in their life that flowed between their clothes, car, friends, hanging out and music. Justin Townes Earle is one of the few that really makes that happen now in the same way Bob Dylan and Neil Young did back when.

Justin Townes Earle, The State Room, Salt Lake City, 2009 - opening for Jason Isbell  Photo / Brad Hardisty

Justin Townes Earle, The State Room, Salt Lake City, 2009 – opening for Jason Isbell Photo / Brad Hardisty

There is a small circle of current musicians that have been able to transcend all the volleys and Justin Townes Earle and Ryan Bingham are at the forefront for the same reasons that come with life experience and a fine tuned sense of balance between pessimism and optimism reflecting on what is life and what makes it worthwhile and real.

Favorites: “My Baby Drives”, “Picture In A Drawer”, “Burning Pictures”

  • Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom