Archives for category: Music

Josh and Zac Farro’s recent departure appears to be from the fact that in reality Paramore was a solo gig appearing as a band. Josh and Zac went along for the ride as long as they felt a part of the band by writing and had some decision making.

What appeared to be an indie band pressing up through the ranks on small label Fueled by Ramen was actually a Trojan horse of major label Atlantic to be part of the South by Southwest crowd.  Does this really surprise anybody? Although they may have not sounded like No Doubt, the packaging was clear especially when they had the opening slot for No Doubt on their reunion tour not too long ago.

Puddle of Mudd

This is not the first time an artist has been released as a “band” another good example is Wes Scantlin whose Kansas City band Puddle of Mudd had broke up, was able to get his demos in front of Fred Durst who was interested and helped him put together a new Puddle of Mudd that was touted as being from Kansas City when in fact only Wes was the only original member from Kansas City. The rest of the band were people that Wes met out in California or Fred wanted in the “band”.

Kurt Cobain

One of the most interesting notes in a label trying to attain street cred was the signing of Nirvana. David Geffen wanted to sign them to Geffen Records home of Guns & Roses. Nirvana had been with Sub Pop and was weary of the big label machine with the importance of being accepted by the alternative rock community. So, David Geffen started a new record company called DGC Records.  It is fairly obvious what the initials stand for.

The Runaways & Kim Fowley

One of the biggest disputes of whether or not we have a real band here was between Kim Fowley and The Runaways. While it is true Kim Fowley helped Joan Jett put together an all girl rock band with his contacts that reached far and wide across Southern California, The Runaways did in fact write and perform their own music. There is no way to dispute that Kim may have been only a handful of people that could have helped put that group together and encourage them as raw teenage talent they were in fact a great band writing and performing their own music.

It would be great if all band stories were not either marketed or put together on purpose, but as one can see music is a business and many times the business machine is involved in the creative process. It looks like Paramore was in a development deal similar to a country act that may take a couple of years before the business machine drops the record on the public.

Paramore’s roots are actually still a lot more organic than most.  Josh and Zac did have Hayley in their garage band. Hayley did reach out to them when she wanted to put together a full band. They helped to come up with the name of the band. She also stuck up for them when label execs started flexing their “whose in the band” muscle.  They were involved in the writing process. In the end, although she may have been the one signing the deal with Atlantic, they were more of a band then the current Guns & Roses which really is an Axl Rose solo project under a band moniker.

Paramore has a lot of fans because after all it is about the music. Sometimes the way into the music business is not always from the garage to the road to success. There can be other people involved. Paramore is not quite the same story as Puddle of Mudd; they are still a band from Franklin, Tennessee now with two less members from Franklin, Tennessee.  For Josh, it must be a little weird to leave the band with a name you came up with.

– Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

A year in Exile

If there was any kind of recurrent theme this year, The Rolling Stones kept popping up on the radar. It started when I bought the Deadstring Brothers album Sao Paulo an obvious well done Stones influenced work of art. It would be in my Top Ten if it had come out in 2010 but it actually was released in 2009. It is a great album and when I saw them live at The Basement it came across really well.

It didn’t stop there; Exile on Main Street had been remastered with bonus tracks where The Stones actually brought in Mick Taylor to play his parts on some unfinished tracks. The Rolling Stones released a new single “Plundered My Soul” from the found tracks and released several versions of the album.

Grimey’s did a midnight screening of the Documentary Stones in Exile that took photographs, film, new interviews with the band as well as Bobby Keyes and others about recording Exile on Main Street in the south of France way back when at The Belcourt Theatre. “Exile” is now considered a pivotal record but at the time “Tumbling Dice” was considered a difficult single on a rather un-commercial record.

During the Americana Conference the Long Players augmented with Stones Sax Player Bobby Keyes, Dan Baird and several singers like Mike Farris, Grace Potter and others did the entire album live at The Cannery Ballroom. 

The Theatre release Ladies and Gentlemen The Rolling Stones which was filmed during the Exile promotional tour in the States was remastered and released on DVD in the fall. The set featured many of the songs from Exile that are not played much by latter day Stones such as “Sweet Virginia”. The sound and film looked phenomenal and it was good to see Mick Taylor at his best, an integral part of The Stones during that period and in truth is really missed nowadays.

Finally, to finish off the year of The Stones, Keith Richard’s Autobiography Life was released in November along with a compilation of his X-Pensive Winos recordings from the late Eighties.  The Rolling Stones managed to keep in the music news almost as much as Taylor Swift.

Original cover for Straight Up

It also seemed to be the year for catalog re-releases as Apple Records remastered most of the Apple back catalog of non-Beatles recordings by Badfinger, Mary Hopkins, James Taylor and released all of them at the same time.

FnA Records continued to not only re-release 80’s metal catalog but also unearthed several recordings that were set to release but never were by labels such as A&M and Geffen when the Seattle scene took over.  There were several recordings by different artists from The Thirteenth Floor Elevators 45’s to Carnival Season vinyl that saw their material released on CD for the first time.

Janie Hendrix continues exquisite releases of all things Jimi Hendrix with the release of West Coast Seattle Boy that not only has yet another Bob Dylan song done by Hendrix but goes back to the background of what he was doing before going to England with expanded packages that include a disc full of Isley Brothers and other nuggets, pre-Experience as well as a DVD Voodoo Child that even talks about his Nashville days.

Country continues to sell big, but real, traditional or Texas Country has been swallowed up by the Americana scene. At least it has found a home. As far as innovation in current pop country the last leap forward was Miranda Lambert’s Revolution and that was released last year.

Here are few honorable no less worthy than the list:

Ratt – Infestation

Merle Haggard – I Am What I Am

Kort – Invariable Heartache

Charlie Louvin – The Battles Rage On

Marty Stuart – Ghost Train

Jim Lauderdale – Patchwork River

Crazy Heart – (Soundtrack) Various Artists

Okay, now for my Top Ten. In making my choices, I not only looked at material, but innovation and game changers, records that made things interesting.

10- Carnival Season / Misguided Promises / ARRCO

This represents not only a re-issue on CD for the first time of regional Birmingham band Carnival Season that features local legend Tim Boykin, but, painstakingly includes every recording the band made during their short time together as well as extensive liner notes that tell the whole story of the late 80’s rockers. It sits well on the shelf with bands like Redd Kross as well as The Replacements. The band has been doing occasional reunion gigs playing not only this set but some new stuff as well over the last couple of years. This was one of the first alternative rock bands out of Birmingham, Alabama.

Featured tracks: “Misguided Promises”, “Please Don’t Send me to Heaven”

9- Robert Plant / Band of Joy / Rounder –Esparanza

Robert was in the middle of recording the follow up to Raising Sand with Allison Krauss when he pulled the plug when he felt the magic wasn’t there. He retreated to Nashville and entrusted Buddy Miller to put together a band that features Darrell Scott, Byron House, Marco Giovino and Patty Griffin and secluded into Woodland Studio to see what they would come up with. The result is obscure covers as well as a Plant-Page piece from Walking into Clarksdale that shows some Zeppelin flavor with uncharted Americana territory which sonically could have only happened with Nashville session players in such a short time. The band gelled in the studio and continues to roll across Europe and Stateside. This is probably Buddy Miller’s best Production effort yet.

Featured tracks:  “Angel Dance”, “You Can’t Buy My Love”, “House of Cards”

8 – Ryan Bingham and The Dead Horses / Junky Star / Lost Highway

Ryan tends to write like a modern day Dylan but his voice is more like John Kay from Steppenwolf. Ryan who comes from the red dirt scene of West Texas and now lives in so-L.A. got national notice with the Grammy winning “The Weary Kind” from the Crazy Heart soundtrack defiantly writes about a drifter leaving behind a dead end life to go to California only to end up sleeping on the Santa Monica pier.

Featured tracks: “The Wandering”, “Junky Star”

7- Sweet Apple / Love & Desperation / Tee Pee

Put together by members of Dinosaur Jr. and Witch, this little known defiantly Hard Rock and other worldly idea collection of songs with its Roxy Music rip off style album cover is actually closer to something between an early Alice Cooper (when they were a band) and Ziggy Stardust era Bowie. The album kicks off like a Raspberries send off with Guidedbyvoices production and then the desperation begins with some morbid love lost desperation with a chugging Alice Cooper band style with lyrics like ”Looking out the window, watching people fall, how I wish I could fall to death”. It’s a rock and roll gem this year.

Featured tracks: “Do You Remember”, “I’ve Got a Feeling (That Won’t Change)”

6 – Preservation Hall Jazz Band / Preservation / Preservation Hall Recordings

What a fantastic album. A collection of well-known New Orleans Ragtime with this important Horn based band where the tuba still carries much of the bass part, mashes PHJB with an all-star cast of vocalists such as Andrew Bird, Pete Seeger, Ani DiFranco, Ritchie Havens, Steve Earle as well as the sultry vocals of Memphis’ Amy LaVere.  The band ended up on tour with Maroon 5 this year.

Featured tracks: “Blue Skies”, “Baby Won’t You Please Come Home”

5- John Mellencamp / No Better Than This / Rounder

Recorded for the most part at Sun Studios with one RCA 44 ribbon mic into vintage Ampex Analog gear, John not only sounds like the old Sun recordings, this sounds like old tape that had to be baked in a microwave to finally put it on digital media. It was not only a great idea with equal parts Cash country, Rockabilly and blues but probably his best album since Scarecrow. The T Bone Burnett produced masterpiece even got airtime on WSM.

Featured tracks: “No Better Than This”, “Coming Down the Road”

4- Justin Townes Earle / Harlem River Blues / Bloodshot

If you missed it, Justin just rolled a third strike in three years. Every album has been decidedly Justin with marked differences and excellent songwriting. This would be his “Ode to New York City” where he now calls his second home.  Jason Isbell (Drive by Truckers, The 400 Unit) puts in guitar duties and gives this more of an edgy guitar feel as well as some straight up Rockabilly. It really would be cool to see a pure Rockabilly album in the future.

Featured tracks: “Move Over Mama”, “Workin’ for the MTA”, “Christchurch Woman”

3- Black Mountain / Wilderness Heart / Jagjaguwar

This album sometimes feels like Led Zep III and Deep Purple Fireball at the same time. The duality vocals of Stephen and Amber still remind me of a haunting Jefferson Airplane with the production sounding very early 70’s analog, sometimes acoustic but when they rock it’s got Jon Lord style Hammond B3 all over the place. Although the first album by this Vancouver band may have been a defining moment this is the one that makes me wants to crank the stereo full blast on road trips.

Featured tracks:  “The Hair Song”, “Old Fangs”, “Let Spirits Ride”

2- Mike Farris and The Cumberland Saints / The Night The Cumberland Came Alive / Entertainment One

Recorded in just six hours just two weeks after the Nashville Flood in a downtown Nashville church just blocks from the flooding, Mike shows that his bluesy/gospel voice can sound fantastic over anywhere he wants to go. Mike has been everywhere from Indie Rock, Blues, Gospel, working with Double Trouble to now this pre-war Gospel Blues style gem working with The McCrary Sisters, Sam Bush, Byron House and members of The Old Crow Medicine Show, his originals mesh well with the rare covers. He showcased the album at Cannery Ballroom during the Americana Music Festival and it was electrifying.

Featured tracks: “Wrapped Up, Tangled Up”, “Down on Me”

1-She & Him /Volume Two / Merge

Zooey Deschannel & M. Ward are some kind of modern Indie Captain and Tennille and somehow it works. Zooey has a sunny California breeze running through her muse that translates into a digital era take on The Beach Boys versus Phil Spector. Even though the material is fresh it makes me daydream of being back on the beach in Santa Cruz when I was six with my Mom and little sister.

Featured tracks: “In The Sun”, “Don’t Look Back”,”Lingering Still”

– Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

The new Jimi Hendrix Anthology West Coast Seattle Boy bonus DVD Voodoo Child answers a lot of questions about Jimi’s time in Nashville, which for the most part is an unknown piece of the puzzle.  Jimi not only formed his first band The King Kasuals with Billy Cox on Bass  while in Nashville but it was here that he cut his teeth with some of the best Rhythm and Blues acts of the day.

Jimi Hendrix at Ft. Campbell, KY

The first step to Nashville for the Seattle, Washington native was joining the Military. “I was 18. I figured I would have to go into the Army sooner or later, so I walked into the first recruiting office I saw and volunteered. I wanted to get everything over with before I got into music as a career so they wouldn’t call me up in the middle of something that might be happening. “

Jimi wasn’t able to sign up as a musician because he had no formal musical training so he joined the most elite outfit he could. The 101st Airborne Division, The Screaming Eagles of Ft. Campbell, Kentucky. He wrote home “Well Dad, here I am exactly where I wanted to go in the 101st Airborne.”

Young Jimi with Red Danelectro

Jimi wanted to succeed for the sake of his family name as a member of the Screaming Eagles in the U.S. Army. One of the first requests home was to send his guitar, “P.S. Please send my guitar as soon as you can. I really need it now.”

The one thing that Jimi gave up when he went into the military was about to become what he always wanted; music would become the center focus of his life. He was in the military for thirteen months when he got his ankle caught in a sky hook and he broke it. He had become frustrated with the military life and the inability to play music and decided to tell them he hurt his back too. They let him out,  July 2, 1962, just prior to the troop increase in Vietnam.

Photo Date 1963, probably at Del Morocco, Jimmy (Jimi) ,notice Epiphone Coronet, Silvertone Amp, Billy Cox, 3rd down, Nice Fender Jazz Bass, Fender Amp. Jimi was notorious for letting his stuff go into hawk.

Jimi became more serious about the guitar while still in the Army and decided to head south of Kentucky a few short miles to Nashville to see if he could earn money playing the guitar.  He moved into a housing development during the civil rights movement.  In fact he was arrested once along with Billy Cox in 1962. “Every Sunday we would go down to watch the race riots. We took a picnic basket because they wouldn’t serve us in the restaurant…Sometimes if there was a good movie on Sunday there wouldn’t be any race riots.”

The Bonnevilles, 1962, Clarksville, TN at The Pink Poodle just prior to move to Nashville.

Ft. Campbell had been where Jimi had become friends with  Billy Cox, a Bass player born in West Virginia, raised in Pittsburg, PA who also settled into Nashville for the music opportunities.

Together. they formed The King Kasuals. The band played at clubs like the Del Morocco on Jefferson Street as well as gigs on Printers Alley. Jimi did get a little studio time, but, engineers found him too experimental when he got to recording as a back up musician and Jimi had a hard time making some extra money as a studio musician.

Mid-60’s Nashville Civil Rights March

Hendrix waited for his Army buddy and bassist Billy Cox to get out and together they came down the road to Nashville to form their first band – King Kasuals. King Kasuals became the house band of the now-gone Club Del Morocco (the owner of which ended up bailing the two out of jail after a Civil Rights demonstration downtown!). Hendrix played at so many of the clubs in Printers Alley and along Jefferson Street – places where the likes of Etta James and James Brown were performing. Hendrix took his guitar everywhere in Nashville – on the bus, to the store, on a walk. Nashville is where he really developed his guitar playing. He said so himself: “That’s where I learned to play really…Nashville.” – 365nashville.com

“Hendrix credits Nashville as the place that he really learned how to play guitar. That still freaks out most people who think of Nashville as just country music,” says Joe Chambers, the founder of the Musicians Hall of Fame in Nashville.

Chambers recounts how in 1962 Hendrix wound up at the army base at Ft. Campbell, Kentucky, and met fellow musician Billy Cox. They became fast friends and a short time after moved to Nashville, some 60 miles away, and lived together on Jefferson Street, above a beauty shop called Joyce’s House of Glamour.

“I actually saw Jimi Hendrix one night at Printer’s Alley. He was in his private’s uniform,” says Norbert Putnam, a musician, studio owner and producer with a long list of credits in Nashville.

Hendrix soaked up the style of the blues players in the bars along Jefferson Street. “You gotta be pretty good to get their attention,” Chambers recalls his friend Billy Cox saying. “Jimi went to sleep with his guitar on, woke up with it on, walked out the door with it, and went to the movie theater with it.”

Jimi with Buddy and Stacey “Shotgun” Nashville TV Taping

Some of the first video footage ever shot of Hendrix was on Nashville’s WLAC Channel 5 television show Night Train. You can see him on a 1965 clip backing up Buddy & Stacy, looking freaky and sliding his hand over the front of his guitar’s neck. Chambers says Hendrix and Cox played the clubs on Jefferson as well as the club circuit from Murfreesboro to Tullahoma. – From Rock In The Country: Nashville’s Secret History By Davis Inman 12/17/2010, American Songwriter

King Kasuals, Jimi, Billy

Jimi left Nashville to be near his Grandmother in Vancouver in December of 1962 and played with a band called Bobbie Taylor and The Vancouvers, that featured Tommy Chong of comedy team, Cheech & Chong, until heading back to the south in the spring of 1963.

The gigs continued with Billy Cox and the band. Jimi continued developing his chops and playing wherever and whenever he could.

Jimi Hendrix did some uncredited session work while in Nashville and also played for current “Nashville’s Queen of The Blues” Marion James and Roscoe Shelton before leaving Nashville. Billy Cox also played bass for Marion James who still resides in Nashville and is signed to Ellersoul Records.

Billy Cox wrote two songs for Frank Howard & The Commanders and both Billy and Jimi played on the sessions for “I’m So Glad” and “I’m Sorry For You” during those Nashville days.

Billy Cox stated in a Nashville Scene interview in 2010 that he is in the process of writing a book about his time with Jimi Hendrix in Nashville; nobody could tell the story better than Billy and he hopes to clarify between myth and legend what happened in those early times.

Jimi in Nashville

Imperials drummer Freeman Brown played with Hendrix while he was in Nashville. “There used to be a theater called the Ritz Theater down on Jefferson Street, it was there for the longest. We went to a show one day and Jimi carried his guitar in a shopping bag. He always kept his guitar with him. And every time he would just play, just play, just play; it was kind of like having a little baby to him.” “It was like a third arm, you know. And like he (Freeman) said, I saw him on a bus with it one day, you know, in a shopping bag, in a plastic bag, whatever. That’s the way he was. It was not unusual at all. Not usual at all,” confirms George Yates.

Larry Lee, 2nd guitar with Jimi Hendrix at Woodstock

“Jimi and I, being left-handed guitar players, just talked. We hit it off real smooth,” Yates recalls. “Everybody thought we were brothers. We were skinny, very young, and I guess, women chased us, you know. We played together one time. It was with a group called The Bonnevilles, and I believe Jimi named the group. His manager had us on the road one night, supposedly the three best guitar players in town- me, Jimi, and Larry Lee from Memphis (The same Larry Lee that played with Jimi at Woodstock). The people just went crazy because we were all doing crazy acts, you know, guitar behind the head, biting it with the teeth, falling on my knees, and I have bad knees because of it today. But Jimi was the showman. We were admirers of each other, you know.” – Night Train To Nashville by Tina Robin

It was at this time he met a promoter named Gorgeous George, who got him on as a touring guitarist. “The idea of playing guitar with my teeth came to me in a town in Tennessee.  Down there you have to play with your teeth or else you get shot. Those people were really hard to please.“

The earliest known video of Jimi Hendrix was playing “Shotgun” with Buddy and Stacey  at a Nashville television studio in May 1965.

It was a Soul package that came into Nashville featuring Sam Cooke, Solomon Burke, Jackie Wilson, BB King and Chuck Jackson that kick started his professional career. “I got a little job playing in the backup band.  I learned a lot playing behind all those names every night.”

Jimi’s star across from Country Music Hall of Fame

He went on a 35 day tour covering most all of the south, the Seattle boy was now in the thick of a tour that took him to all parts of the country.  He sent a postcard “Dear Dad, just a few words to let you know I made it to South Carolina. Tell everybody “Hello” with love, Jimmy”

Jimi with The Isley Brothers

While in New York, he entered an amateur contest at the Apollo Theater and won $25 after taking first place.  It was there in New York that The Isley Brothers asked him to stay and play.  He played with them for a while but he was ready to break out of being in the back up position and desired to direct his own career.  He left The Isley Brothers when they made it back to Nashville on a tour stop.

He then joined a band that took him to Atlanta, Georgia where he met Little Richard and was asked to join his band. “Dearest Dad, I received your letter while I was in Atlanta. I’m playing with Little Richard now. We’re going toward the West Coast. We’re in Louisiana now. But my address will be in Los Angeles. “

Jimi with Little Richard

He only played with Little Richard for five months and left after not getting paid for a period of five and a half weeks.  He was ready for a change after the Little Richard stint. “I couldn’t imagine myself for the rest of my life in a shiny Mohair suit with patent leather shoes and a patent leather hairdo to match. “

“I didn’t hear any guitar players doing anything new.  I was bored out of my mind. I wanted my own scene making my own music. I was starting to see you could create a whole new world with the electric guitar because there isn’t a sound like it. “

Curtis Knight and The Squires

He heard music in his mind that he wanted to do but he knew it was going to be hard to find people to do it with.  “I went back to New York and played with this Rhythm and Blues group called Curtis Knight and The Squires. I also played with King Curtis and Joey Dee. “

It was after this period of time in Nashville, travelling with some of the greatest artists of the day that he became what the world knows as Jimi Hendrix. Chas Chandler, bassist for The Animalswas invited, by Keith Richards girlfriend at the time, Linda Keith (she also “loaned” Jimi one of Keith Richard’s guitars to Jimi), to see him play with his band, Jimmy James and The Blue Flames and that is where the usual story of Jimi Hendrix begins.

Band of Gypsies : Billy Cox, Jimi Hendrix, Buddy Miles, who had kept on Jimi for some time to get their own band going.

Although it may have been a short couple of years, his friend Billy Cox would rejoin him with Buddy Miles as Band of Gypsys and they recorded some of the funkiest three piece soul ever done. Billy would be with him at Woodstock and record and perform as a member of his band until he passed away. Billy still lives in Nashville.

Jimi went through many transitions in life, moving several times and being called by many different names, first, Johnny than James, “Buster”, Jimmy, with many knicknames along the way including “Chop Suey” and finally Jimi. Through all the changes, Jimi managed to be very positive as his guitar was like a magic carpet guiding him on his travels.

If Jimi had not joined the Army and started his journey through the south, his story might not have been what it became.  By doing what other great guitarists do, be it Country or otherwise and joining the Nashville scene and becoming a touring musician he accelerated his abilities quickly and became the Voodoo Child with a mojo hand made of gold becoming the most important guitarist of his day, a great songwriter and  the highest paid rock showman of his time.

Many of the quotes that are by Jimi Hendrix, were read by Bootsy Collins and are featured in the Documentary, Jimi Hendrix: Voodoo Child.

” Music is the most important thing. I’m thinking of my future. There has to be something new, and I want to be a part of it. I want to lead an orchestra with excellent musicians. I want to play music which draws pictures of the world and its space.” – Jimi Hendrx

Jimmy James and The Blue Flames

Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

Sitting in/Band Practice/Cabimas, Venezuela, 1983

I left for Venezuela for almost two years in April 1982, leaving behind all my sold dream rock guitar gear, The Dean ML, Gibson White Double neck, Marshall MKII 100 Watt stack and the van to carry it all in, a 1972 yellowish Chevy van. I figured if I was meant to get back into music, the right gear would come back into my life.

My Venezuelan Cuatro and Laud

After about a month in Barquisimeto, Venezuela, I went down to the shopping district to buy a Cuatro, kind of a Venezuelan oversized ukulele, A Tenor Uke of sorts, used to play traditional Venezuelan Folk Music. The cassette recorder I had to record my voice and send home began to be my portable studio, developing Caribbean flavored non sensical flavored blues a Van Halen.

I played some stuff for the locals and it left them totally confused. That Cuatro became my free day muse until months later when I found a Spanish Laud, a twelve string short scale in the flea market in Maracaibo for about $100.  I was able to do almost Classical Acoustic Guitar pieces on that thing and by the time I was living in Cabimas, Venezuela, I would enlist the closest person in the house to help make up songs like “Junkyard Dog” and “U.S. Girls”. For a period of 16 months, these were the only stringed instruments I had.

Moviescreen, 1983

When I got back to Salt Lake City at the end of 1983, I got a crash course in the current Metal scene going to a band practice with Parrish Hultquist and his band Moviescreen. Parrish handed me one of his Charvel Star guitars and I nearly blead to death riffing some of the old riffs I wrote two years prior. It felt good just to be playing through a Marshall before the band got practicing. It had been nearly two years since my last encounter with an Electric through a Marshall rage.

Wally in doorway,me in yellow/blue,Snow College 1980

I went to College in Provo, Utah in the winter of 1984 and my old band mate, Wally Gerrard from Karma would stop by my place at Raintree Apartments on the weekends and ended up letting me borrow some kind of no name half stack and a Japanese lawsuit Black Les Paul to practice some guitar. I ended up jamming with a group called the True Detectives with that rig in Provo, a bunch of Orange County, California semi punks playing “Breathless” X style and a few other punk gems. It was a little mismatch to my still metal ways but it was fun.

Mosrite 12 String

The summer of 1984 I was off to work in Southern California with the intention of returning to school but it never happened.  Parrish had loaned me a guitar he had borrowed from Dana Freebairn, a vintage Mosrite Ventures 12 string with a vibrato bridge. I strung it as a six string, bought a Tom Scholz Rockman and spent the summer jamming in the sand at Newport Beach, California for the summer.

Eventually, I pulled some cash together and purchased a Gallien-Krueger twin 12 similar to the stuff that Alex Lifeson was using at the time. I thought the cool thing was that it had a built in Chorus circuit and had kind of that post punk sound, like Warren Cuccurullo licks.  Living in Orange County, I was getting pulled all different ways, I was still listening to Randy Rhoads but got tuned into bands like U2, The Cult, Souxsie and The Banshees, The Fixx, Missing Persons.  It was Orange County and even if Leatherwolf was hanging at the house where I was staying in Costa Mesa, Metal was kind of an inland music; the beach had punk and related music going on.

Kramer DMZ1000

Near the end of summer, Parrish sent out some copies of the Moviescreen Cassette and wanted me to come back up to Utah and play second guitar. I was having a good time in Orange County but I heeded the call and went back up with my Duran Duran style hair, Gallien Krueger and ended up picking up an aluminum neck Kramer DMZ 1000 at a pawn shop in Provo to get more of the heavy rhythm sound he needed. The problem was the Gallien Kruger didn’t sound like a Marshall and at that point in 1984 it was all about the Marshall. We were supposed to open for a band called Exciter at The Salt Palace when Brian Sorenson, the drummer, got hit by a drunk driver and his hand was busted. I ended up taking him to physical therapy several times a week and within two months I had moved back down to Orange County, California.

I had the exact same White Kramer/1985

When I moved back to Orange County at one time I pawned the guitar and amp to pay for a ring for a girl I was serious about.  That relationship ended and made me re-think, don’t ever sell gear for a girl. I went and bought a cheap white Kramer van halen style guitar at Guitar Center when it was still in Santa Ana with the Floyd Rose vibrato on it. It was the budget model but still did the dive bombs.

I started to settle into the Huntington Beach, California scene where it was almost open warfare between the kids from Downey and Anaheim coming down in black leather listening to KNAC and the surf punks listening to KROQ. In fact, I lived above Jack’s Surf Shop at the corner of Main and PCH Highway and one night when it was still old town with bars, small stores and surf shops there was a full scale riot going on.

I watched from my bedroom window as the KNAC Metalheads numbering about 100 and the surf punks who were into surf clothes, The Ramones, The Toy Dolls and looking the part actually got into a full out fight on Main Street at about midnight in about 1985. I would just rock riffs with the White Kramer/ Floyd Rose/ Van Halen type setup through my friends Fender Deluxe with a distortion pedal.  Finally, somebody got thrown through a plate glass window store front and the cops were coming and everybody scrambled. I could crank that guitar any time of day and nobody cared down by the beach.

Halloween 1986,me in smoking jacket, Derrick Lee-Glam Rocker

Derrick and I put together a group and called them The True Detectives after the band that both of us had jammed with at one time or another. We practiced in the apartment above Jack’s Surfboard Shop and in south Orange County.  We were doing covers like “Dancin’ With Myself”’867-5309”and other party favorites around 1986. When my Aunt died and I left for a funeral and didn’t make a gig I never got called for band practice anymore. What can you say?

I wasn’t satisfied with the Kramer and wanted a more serious guitar. I was into jazz guitarist John Schofield after catching a video from the album “So Warm” on an L.A. afternoon rock video show. He was playing an Ibanez AS 200 semi-hollow burst guitar and I went in search of one and found one used and traded the Kramer for the Ibanez. I had studied jazz in college but this was the first time I had tried to start incorporating jazz inspirations into my own playing.

Ibanez AS200-my jazz period and beyond

I was kind of on my own, playing my John Schofield-Pat Metheney inspired chord patterns. My friends in Orange County were still into a kind of post punk thing while L.A. strip bands were getting signed left and right and touring the Midwest. I would keep that Ibanez for nearly 20 years and it would survive the rise and fall of a couple of bands, several amps and an upstairs recording studio that is all now part of the past. In an interesting twist, although I had practiced with Moviescreen and The True Detectives, I never did end up playing live; in fact I had not played in front of an audience since Karma back at Snow College. It was like I spent the rest of the 80’s figuring out what I wanted to do with my music while I was busy dating girls and going on with my life.

Snow College -Me,the Tall one next to Professor, Wally dead center on sax

 – Brad Hardisty, Nashville, TN    thenashvillebridge@hotmail.com

Mike Farris and The Cumberland Saints at Grimey's

 Mike Farris played with one of the largest bands ever to do an in-store at Grimey’s the night of October 26th, sharing that honor with Dark Meat and Sharon Jones and The Dap-Kings playing a set list from The Night the Cumberland Came Alive which is already number twenty two on the Americana charts on its first day of release. 

The album was recorded live just weeks after the Nashville flood in just six hours.  Kenny Vaughan (Marty Stuart), Ketch and Gill (Old Crow Medicine Show) and The McCrary Sisters were a part of that session and were able to be a part of the CD release party.

Kenny Vaughan Breaks out at Grimey's

Sharing time with found Pre-War Gospel Blues gems were the originals “The Night the Cumberland Came Alive” written by Mike as well as “Dear Lazarus” that Mike co-wrote with Ketch Secor.

The all acoustic set lead to some great jamming between Ketch on Harmonica, Kenny leaning into the Guitar and some fiddle, Resonator and Upright Bass. It may have been Grimey’s but it might as well have been a church in rural Louisiana or an old juke joint in the Hill Country not long after the Memphis Jug Bands.

Mike even got an encore as he noted that only in Nashville can you walk in with a framework of songs that you would like to do and come up with such a great recorded list in only six hours. Mike will be at Music City Roots Wednesday night with special guest Jerry Douglas at The Loveless Barn which can be heard on WRLT-FM, The Lightning 100.

John Carter Cash

It was too early to head home so I stopped by The Rutledge for The Billy Block Show to listen to John Carter Cash play a more rocking set of songs off his latest release The Family Secret as well as Billy Block on drums with Mary Hartman and the Mistakes. Mary Hartman had garnered some interest with a few fans coming in from Kentucky and Chattanooga after seeing her set from last month on The Billy Block Show on YouTube.

Mary Hartman and The Mistakes

 – Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com  all photos Brad Hardisty

Epiphone Broadway

Neil Young said that if you are not getting any new inspiration get a different guitar. Just a change in neck action, pickups and tone can lead you in new directions, so I was just thinking back on the path that lead me to my current main guitar the Epiphone Broadway, so let’s do a rewind.

I was hooked on The Beatles at age five so my Mom bought me what looked like an old Sunburst Gibson acoustic, but must have been a $35 guitar. I couldn’t chord it or anything so I just strummed along to records. That guitar just disappeared after I left San Jose, California  when my parents died at the age of six.

Japanese Lyle SG

Growing up, I spun a lot of records, wasn’t much interested in school sports, finally when I was thirteen my Uncle said “you don’t play sports, you should learn to play an instrument since you listen to records all day.” I told him it had to be an electric guitar so he bought me a Lyle SG Copy that was an awful piece of work with pseudo-Gretsch pickups, high action for about $100. I took some lessons and learned to play “Smoke on the Water” on that thing.

Gibson Les Paul Deluxe

After I had played for about a year and a half I complained enough, saying that I was going to play in a band and needed a guitar that played right, so, my Uncle let me use some of my parents inheritance to get a Gibson Gold top Les Paul Deluxe (it was $150 cheaper than a Les Paul Standard) and a Kustom 4X12 rig. It wasn’t the best, but I figured out how to get distortion by plugging into an old tape machine first. I used it to play my first gig doing covers in Fresno, California with Ambush with Gary Lomprey, Dennis Morrison and Victor Blue on drums.

We left California in 1977 when I was getting into punk rock and I started playing Bass for a cover band, Magnum Force with Parrish Hultquist, Dusty Crawford and Jerry Barth, while I was a senior at Cottonwood High School in Salt Lake City, Utah, doing UFO, Queen, Kiss, Nazareth, Joe Walsh whatever. When I turned eighteen, for better or worse,  I could tap my inheritance without going through my Aunt and Uncle. I finally got gear that I had dreamt about for six years.

Derek Roberts/Joker/1979/my Gibson Explorer,note Marshall “fawn”

I picked up a full Marshall MKII 100 Watt stack in Fawn finish because Guitar City in Kaysville gave me a better deal than the black stack. Back then, there were only 5 or 6 players that had Marshall Amps in the entire state.

Okay, now guitars got fun, I bought a Gibson Cream White Explorer in 1978 and had Guitar City fit it with DiMarzio Super Distortion pickups. I used that during my first real recording of one of my original songs, “High Rollin’ Rider” with Equinox with Parrish Hultquist, Jerry Barth and Brian Nolan at Bonneville Studios. The Gibson Explorer lasted my first year of college before I had to sell it to get some cash in 1979 to Derek Roberts of the band Joker . He still owns it. At least I can get on YouTube and see one of my family guitars.

Me on the Dean ML / 1980

I saw a showcase for a new band called Lois Lane at a Salt Palace Conference Theater in the spring of 1978 and the guitarist was playing a Dean ML. I had never seen anything like it; A combination Flying V and Explorer. I found one, first year Dean ML, Black with cream binding and it was just under $1000. That was a lot of money in 1978. It was more than what I paid for the Les Paul or the Explorer. It became my main rock guitar. I used it when Parrish Hutlquist and I started our band Roxx.

I used the Dean ML when I was at Snow College playing in the Jazz band as well as my rock band, Karma with Wally Gerrard, Matt Udall and Doug Johnson. I took it on our Jazz band tour when we went to Chaffey College, Rancho Cucamanga, CA (Thanks Wally) in 1980 to compete against other Colleges. I sold the Dean to Parrish’s girlfriend who gave it to Parrish as a gift, when I went to Venezuela, but not before writing a bunch of Michael Schenker inspired original songs with Karma, like “Doing the Detective Work”, “L.A. Heat” and “On the Beach”.  Parrish played it in Moviescreen with Matt Udall, Dana Freebairn and Dave ****before it was stolen.

Moviescreen /1982/ Parrish with my Dean ML

One side note, I met Eddie Van Halen when they played at Utah State University the day after Van Halen II was released, hanging backstage we talked about guitars and I talked him into checking out a Dean. He bought a Dean V and it was in a photo shoot just two months later, the first time he was voted Guitarist of the year in Guitar Player Magazine.  He is in a pink jumpsuit and his Cherry burst Dean V is in the photo shoot. I got to tell Dean Zelinsky this last Summer NAMM about getting Eddie to try out the Dean. He said he tried to get Eddie to try one back then, but, Eddie just said ‘that guy in The Cars plays one, I don’t think so.”

Eddie, note the Dean V on the floor

I also got a Gibson white double neck just like Alex Lifeson’s from Brent Brown  who had a band called Roadwork when he was leaving for Europe. I paid $1000 for that mid 70’s Gibson. I used it for the Snow College Jazz Band and I also used it when Karma played “Chemical Reaction” and “Wind Song” in order to utilize the twelve string.  When The Snow College Jazz band would perform, horn section and all, I would be up there with my Gibson double neck and my Marshall full stack. I would always have a crowd come up afterwards and ask questions in the small town of Ephraim, Utah.

Gibson White Doubleneck just like Alex

I kept the Dean ML (Parrish Hultquist got the DeanML as a gift from his then girlfriend, Kindra who purchased it from me), Gibson Double neck and the Marshall MK II stack until I left for Venezuela for two years in 1982. I needed some cash. If you want to know, I took a big loss. Nowadays, that first year Dean is worth some serious cash, so is the Gibson Double neck. The Marshall was irreplaceable. I have discovered that even the same model Marshalls don’t sound alike and that one had the Mojo.

Let’s just call this phase one.

– Brad Hardisty, Nashville, TN    thenashvillebridge@hotmail.com

Me with my Dean/Matt Udall/sold the Dean/he joined Moviescreen

Filming "Country Strong" at War Memorial

When Gwyneth Paltrow was in Nashville months ago filming Love Will Find a Way, I got the call to be an extra at the War Memorial where Gwyneth was filming sequences that featured her “comeback” in the movie that will be released now with a new title Country Strong.

Gwyneth was singing live with a band of Nashville natives to canned tracks for the actual film. She really did work the audience and was “in the part” enjoying herself as a send up of something in between Shania Twain and Taylor Swift.

It’ s hard for me to remember the words to the songs but, the upbeat song was kind of a Country version of “Shake Your Booty” got the crowd going and we were having a good time running through the song several times for several shots.

Gwyneth in Nashville

When Gwyneth did the ballad “Country Strong” we were cheering even after the filming stopped the first time she did the shot. We didn’t stop. I think we were all in shock at how good the song was and how good her voice was.  Gwyneth was surprised too and while the Director was talking to her about her next shot they finally stopped collaborating.  Gwyneth walked back out to the runway and took a bow to the thousand of us that were there. We didn’t stop cheering for probably 10 minutes while the cameras were turned off.

The Director finally walked out and talked to us about who wrote the song. It was an all star team. It may be the old formula, but, picking a great song made all the difference. I will not be surprised that it will be a huge hit and could even get Best Song at the Academy Awards.

If you get the chance, watch her performance of “Country Strong” at the CMA Awards on November 10th.  I don’t write about stuff I don’t believe in. Gwyneth made me a believer. In reality, Nashville is full of people from all over the world that come here to sing Country just like there are plenty of Blues musicians that didn’t grow up in Mississippi or the wrong side of Chicago.

Gwyneth and Tim McGraw

If you haven’t noticed, Gwyneth loved Nashville and talked positively about her experiences while filming Country Strong including the food and the lifestyle.  Gwyneth was absolutely polite, warm and she won a lot of fans who worked as extras while she was in town. This film also stars Tim McGraw and features Nashville in a big way with a lot of city venues and vistas. I am looking forward to seeing the finished work and hope you will too.

– Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

Mike Farris was stuck in his own home surrounded by flood waters and with the power out; he was unable to get into town for days after the Nashville flood in May.  He wrote “The Night the Cumberland Came Alive” in the next few days and within weeks he was recording his new CD to benefit flood survivors.

Mike Farris and The Cumberland Saints’ The Night the Cumberland Came Alive features all star performances by Sam Bush, Byron House (Robert Plant) and members of Old Crow Medicine Show.  This could be Mike’s best performance recorded live with more acoustic flavored pre-war covers and original Gospel Blues.

Mike Farris will be at Grimey’s record store on Oct. 26th at 6PM to celebrate the release of a disc that will benefit children that are still homeless from the floods at Christmas time. The funds will be administered through The Community Foundation of Middle Tennessee.

The interview we did is being published by national print media.  My review of his disc dated Oct. 13th can be found at Performer Magazine’s website through the following link:

http://performermag.com/Blogs

Interview with Mike Farris prior to Spain Tour

– Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

Kenny Harlan at Commodore/photo/Brad Hardisty

 Kenny Harlan, Nashville Singer/Songwriter, celebrated his Birthday at Commodore Grill last night with friends including long time co-writing partner, Suzahn Fiering performing in his first songwriter round at Commodore Grill in almost two years.

Debi Champion longtime host of the successful songwriter nights played the gracious host delivering a slice of Chocolate Mousse Cake when he was on stage and getting the crowd to join in a round of “Happy Birthday”.

Kenny performed the song that got a lot of buzz on triple-A/Americana radio and in Europe in 2008, “Waiting for You”. It was not a trip down memory lane but a reminder of the strength of his ever the romantic lyrics that give thought to longing love and a bright hope for the lonely hearts club.

It was an all-star round prior to Kenny’s performance featuring Gary Hanan who co-wrote the top ten Country hits, “When I Knew It All” and “Tequila Makes her Clothes Fall Off” and Sam Cooper with his cinematic ode to walking poetry “East Nashville Girls”. If you live here you know what he is talking about.

We got a chance to catch up that evening and I found out he has been busy being Dad. His daughter, who turns three and his wife have been the center of his attention for the last couple of years in Franklin, Tennessee. Nashville is not only a great town to be a singer/songwriter but also to raise a family as one can tell by the number of Artists who have moved here over the last few years.

 Kenny shared lyrics of a song he wrote as a tribute to his father who passed away recently. We reflected on past accomplishments and Kenny shared I Phone videos of his daughter while talking about new material that should be coming out over the next year.

Suzahn who has been busy instructing songwriter workshops in Prague and working for Sir Paul McCartney’s Organization for the past several months was hoping to get some writer’s nights going with Kenny before she goes back to England.

Kenny who knows to always travel with his trusted Martin guitar, was not planning on playing, but hoped to get in on the action and had a wonderful Birthday at one of the Nashville’s finest venues.  

– Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

I first got turned onto Black Mountain in 2006 when my drummer, Daniel of “Waiting for Daniel” fame said you got to check this out as we hung out back of the practice space, The HotEL Birmingham in his Volkswagen Jetta with the music cranked.

I was like the “what tha?” It was twin vocals kind of “Grace Slick and Marty Balin- Jefferson Airplane style” over music that veered from the mysterious realms of Jethro Tull to heavy Black Sabbath riffs. Although it was electric it was really organic sounding, like heavy Rock being neither Stoner Rock or Heavy Metal.

The first cover of black on black mountains, like flying over the Rockies in the winter at night was ominous like the sound. I started looking forward to the next release. In the Future was again very heavy and kept this brigade of late 60’s romantics cooking. The cover again with the cubist art was like retro-future with how 1960’s culture viewed itself. We had to look toward the future.

Black Mountain / photo/ Ryan Walter Wagner

This is Black Mountain‘s fourth outing and still no picture of the band on the cover. If you want to see the band, you’ll need to go to YouTube or go see them live. They seem even more focused and the artwork is no less compelling with a reflection of a great white shark in a mirrored office building coming out of the clouds, it’s like nature itself is pissed off.

Wilderness Heart kicks off with almost a Led Zep-Kashmir quality and keeps the retro stew going with “Old Fangs” coming out of the speakers like a Martin Birch engineered track off Deep Purple’s Fireball.

Amber Webber is a key element that keeps things from getting formulaic with her counter vocals, Stephen McBean and Amber still remind me of a modern day Marty Balin-Grace Slick team or if you want to get punk, Exene Cervenka-John Doe team. This type of work could not be auto tuned, there is some room for synthesizers but they will remind you of the synth work in Zeppelin or Sabbath.

The sound still stays organic and sounds as if they are still recording on big Ampex Analog 16 track machines. They are at the forefront of something that bridges the late 60’s haunting post hippie scene with lyrics that will stir the Syd Barrett in everybody. In fact, there is even a reference to Piper at the Gates of Dawn, but I’ll let you find that yourself like discovering the hidden meanings on The Beatles’ White Album .

This groups possible believers may not even be listening yet. Black Mountain bridges the gap between the kids that find the music of the late 60’s and early 70’s had something that music doesn’t have now and the fifty somethings that listened to the music in the first place. Wilderness Heart could sit comfortable between Jethro Tull’s Aqualung and Deep Purple’s Fireball in any relic’s record collection.

 The Psychedelic Vancouver, Canada band will roll into Nashville on November 11th at the The Mercy Lounge/Cannery Balllroom. You can get tickets at Grimeys, this is 9 on a 10 scale kick back in your room music.

– Brad Hardisty, Nashville, TN    thenashvillebridge@hotmail.com