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Rolling Stone: Nashville – Best Music Scene

April 24, 2011 //

Jimi Hendrix in Nashville

Word hit the street over the last two weeks like a brush fire in New Mexico: Rolling Stone wrote in print and on the net, Nashville has the best music scene in the country. I haven’t even read it yet because it is in the subscriber content on the web, but, I believe it to be true.

What was the turning point? The Kings of Leon? I don’t really think so. The Kings of Leon had to go over to England to become big in the U.S., kind of like Jimi Hendrix, in fact Jimi was gigging up on Jefferson Street with Billy Cox and The King Kasuals for just a little scratch and room and board just a couple of years before he went to the U.K.

Paramore? Well, giving a little credit to a younger scene was a good thing when they were signed to Fueled by Ramen (sort of) yet there is no scene of bands trying to sound like Paramore around Nashville so it is its own thing.

Just a couple of years ago, Nashville was licking its wounds when Be Your Own Pet and The Pink Spiders, especially The Pink Spiders who went in with guns loaded and a Ric Okasek Produced album and an Artist Relations war chest were unable to break big.

Was it when Jack White moved Third Man Records down to Nashville, that is definitely a key piece to being Rolling Stone cool, with new 45’s by regionals being released almost on a Sam Phillip’s Sun Records schedule along with concert events that are showstoppers like the Record Store Day plus one Jerry Lee Lewis concert featuring Steve Cropper and Jim Keltner.

Okay, Jack White has given it the one two punch by introducing past icons to new generations like Loretta Lynn’s Van Lear Rose Grammy award winning album with Loretta standing in front of the East Nashville house where it was recorded. How about when Porter Wagoner opened for The White Stripes at Madison Square Garden? Who would have known that Porter’s final call would be an outstanding album, The Wagonmaster and a gig opening for The White Stripes?

Maybe, that was key in making sure that real icons are represented like Wanda Jackson’s great new album on Third Man Records. Jack is definitely not just looking behind but is really tuned into the ether. I was excited to see Dan Sartain, a part of the same Birmingham scene I was in for a number of years cut some vinyl on Third Man Records. Dan opened up for The White Stripes on several dates a few years ago and my friend Emanuel Elinas who made some guitar pedals for me down at Highland Music in Birmingham talked about playing Bass with Dan Sartain and going bowling with Jack and his Mom. How cool is that?

In fact, when I saw the band on the flip side of the Dan Sartain 45 and Matt Patton was there, I was really happy about what was happening. Matt and a few others had put out some of the best Indie music in Birmingham that I have ever heard. Matt had this band called Model Citizen and their CD, The Inner Fool, produced by Tim Boykin (The Lolas, The Shame Idols, Carnival Season) on Bent Rail Foundation is one of my all time favorites. Matt is getting recognition with Tuscaloosa, Alabama’s The Dexateens now.

I tell you what; let’s get down to ground zero. When we talk about Todd Snider and the East Nashville scene we are getting close, but, let’s get down to one album and one artist. Okay, I am going to say the transition came when Nashville got behind one of its own in 2008. When Justin Townes Earle got signed to Bloodshot Records and released The Good Life both weekly music papers got behind with big in depth articles about how Justin got to that point. The Good Life is a classic album out of left field but it really represented what Nashville was known for, good songwriting, a little rock and roll, a little country with a nod to the past and to the future of Americana.

At that time, you could hang with Justin over at The Basement, but with extensive touring and a prolific three years, Justin is well established and still with indie cred enough where I can still turn people onto his music as something new.

Justin was recognized at The Americana Music Awards in Nashville in 2009 the year before Rolling Stone called the Americana Music Festival the coolest festival in the U.S. In fact 2010 would be the no holds barred year when Warner Brothers would finally release American Bang’s CD. Robert Plant would record Band of Joy in East Nashville with an Americana A-List including Buddy Miller and Darrell Scott and be the surprise guest at The Americana Music Awards.

The 2010 Americana Music Festival was a real eye opener when you had The Long Players, Bobby Keyes, Dan Baird and a laundry list doing Exile on Main Street at The Cannery Ballroom, Hayes Carll at The Basement, with people coming from Australia just to see him play and a festival closer with Todd Snider and an all-star band featuring Don Was on Bass, with a grin and looking somewhat like Slash’s older brother.

Don Was got in the game this year when he produced Lucinda Williams (a Nashville alumnus) new Cd, Blessed. Did it start at The Americana Music Festival with an exchange of phone numbers backstage at The Rhyman? Only they know for sure, but Nashville is becoming a ground zero magnet for much more than Popular Country Music Radio songs and Christian Music.

There had to be a change. The music business had changed and Nashville has changed along with that. Instead of twenty major labels in town, there are now five. The rest are Indie Country, Rock, whatever.

Coming to Nashville to be a hit songwriter may be a goal for a lot of people, but, getting a staff writing gig is becoming really difficult and less lucrative. Back in 2007-2008, we talked about how a songwriter with good songs getting signed to a publisher with maybe a 25-35k draw now going for 18-24k and the need for a day job for many. Also, one of the larger publishers had in the past as many as 135 staff writers and was then down to Thirty five.

I know for a fact things are much worse for that dream with less staff writers, less money and less records being sold. The dream is still there, but, now you need to get lucky and find a new face with a great voice and the potential to get signed and start co-writing before some money starts flowing.

In early 2008, I could go to The Commodore Grill and see an endless supply of new songwriting talent for the Country Music Industry, but, with less staff gigs and the economy in the tank, less people are rolling into Nashville with an acoustic guitar and lyrics in the guitar case. In fact, it really is a trickle compared to just three years ago. Also, many of the writers that are coming into town have Dave Matthews, Jason Mraz or Jack Johnson chops and are not really what the Country Music Industry is looking for.

On the other hand, the Indie Rock and Americana scenes are ripe for development. Vinyl is making a comeback with this crowd and United Record Pressing is right here where it always was. Colored vinyl, short runs, whatever you need with local labels like Third Man Records and Nashville’s Dead Records, United Pressing is back to increasing production and essentially back in the game.

The song publishing and royalty distribution infrastructure is realigning in Nashville with changes in staff announced publicly last year at ASCAP and I am sure accommodations are coming with a paradigm shift to handle multiple styles now in the pipeline.

Grimey’s New and Pre-Loved Music is probably the most famous record store in the country now, maybe second to Amoeba’s out on the West Coast. It’s not enough that Indie bands make in-store appearances. Metallica made a little short announced gig for fans at The Basement below Grimey’s in 2008 before their Bonnaroo appearance and released the whole experience as Live at Grimey’s worldwide in 2010. Now all the gloves are off.

If you are a music lover, archivist, etc. in a world with disappearing Record stores, Nashville not only has Grimey’s, but also, Phonoluxe Records, The Great Escape, The Groove and plenty of other outlets for local as well as rare Cd’s and vinyl.

Look what is going on at Thirty Tigers Indie Distribution and their great success over the last couple of years.

Belmont University is turning out Music and Music Business degrees every year and a lot of students want to stay here and not necessarily go into the Country Music Machine. They have their own ideas from the scenes they came from whether it was in California or New York.

Bands like The Black Keys and The Deadstring Brothers are migrating here. Even though Music Row still has a big chunk of the day to day business great records are being made in East Nashville, Blackbird Studio and Buddy Miller’s living room.

With the advent of a studio in a gig bag, Indie artists can make records anywhere and with cheap housing and a plethora of like minded musicians gathering in what really is now becoming truly Music City it only makes sense to live and work here, especially when gas is going for near $5 a gallon. Why not be close to all the blessings that come with a great music talent smorgasbord.

Speaking of food, you don’t want to leave Austin because of Texas Barbecue? Okay at least try Jack’s and Rooster’s Texas Style BBQ and Steak House on 12^th. I promise you won’t be disappointed. You want California style Mexican Food? Go to Oscar’s Taco Shop on Nolensville and in Franklin. Thai? Thai Star. Vietnamese? Far East Nashville. Indian? Tamarind. New York Style Italian? Are you kidding? Maffiozas or the place at the Arcade. Okay, so you can’t get Hawaiian Plate BBQ here yet, but, there is plenty to explore. We could still use an In and Out Burger.

Okay, back to music. Country is going through a lot of changes. The ripple of the Taylor Swift explosion that Big Machine Records put into motion are still being felt, being one of the only Platinum Recording Artists in the new digital era, as well as outside pressures from Texas Charts, the Red Dirt scene and T-Bone Burnett Produced masterpieces that can’t be denied.

Country even has its own street cred in Nashville with bands like Kort who are local but signed over in England as well as Indie Singer / Songwriter Caitlin Rose and Country spun Those Darlins. Even Charlie Louvin, who as part of The Louvin Brothers can take some credit for inspiring The Everly Brothers and therefore The Beatles harmonies, got his Indie cred with The Battle Rages On that was released on Austin’s Chicken Ranch Records. I can say I got to see two Midnight Jamboree tapings and get his autograph on an early Louvin Brothers recording before he passed into immortality.

So what about Nashville’s own Indie scene? Heypenny, Jeff The Brotherhood, Cheer Up Charlie Daniels, Uncle Skeleton, Pujol, Heavy Cream (kind of Karen-O fronting a better looking MC5), Todd Snider, John Carter Cash, The Coolin System, The Deep Fried 5 and a laundry list playing at places like The Basement, The End, Danzig’s House, Exit/In, The Rutledge, Mercy Lounge and a house party near you.

How could Rolling Stone not call Nashville the best Music Scene in the country? It is a multi pronged Country, Alt-Country, Americana, Bluegrass, Newgrass, Folk, roots, rock, funkified attack on your senses.

It’s one of those places you could actually plan a week of your life to check out bands as well as pick up a new Nudie or Katy K suit. A place where you might find Joe Maphis’ old Mosrite double neck or the Bass player from Cinderella’s vintage Precision Bass on sale on Craigslist.

You may never win over Nashville, but, it’s a good place to write, do your business and go to the Third Sunday at Third pot luck at Doak Turner’s house in Nashville. Maybe it doesn’t have a burgeoning Death Metal scene but it does have The Billy Block Show. When the sun is out you can’t deny how beautiful Nashville is. Where else can “Bless Your Little Heart” actually mean, I don’t give a ****.

Nashville is a great place to throw your guitar case in the corner and call home.

There are several trackbacks links for your viewing pleasure.

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

Categories American Bang, Americana Music, Americana Music Festival, Band of Joy, Billy Cox, Birmngham Alabama, Bloodshot Records, Buddy Miller, Caitlin Rose, Cannery Ballroom, Carnival Season, Charlie Louvin, Cheer up Charlie Daniels, Chicken Ranch Records, Commodore Grill, Country Music, Darrell Scott, Debi Champion, Doak Turner, East Nashville, Grimey's, Hayes Carll, Heavy Cream, Heypenny, Indie Rock, Jack White, Jeff the Brotherhood, Jimi Hendrix, John Carter Cash, Justin Townes Earle, Kort, Lolas, Lucinda Williams, Model Citizen, Music, Music City Roots, Music Row, Nashville, Next Big Nashville 2010, Paramore, Pujol, Robert Plant, Rock Music, Shame Idols, T Bone Burnett, The Coolin System, The Deep Fried 5, The End Nashville, The King Kasuals, The Mercy Lounge, The Rutledge Nashville, Third Man Records, Those Darlins, Tim Boykin, Todd Snider, Uncategorized, Uncle Skeleton, Wanda Jackson

Dashboard Confessional 10th Anniversary 3/31 at Cannery Ballroom

March 26, 2011 //

Dashboard Confessional has made it through several labels, both record labels and labels put on the band such as Emo or Alternative and whatever radio has decided at any given time to celebrate 10 years since their first release, The Swiss Army Romance, that was recently re-released as a deluxe vinyl package of five 45RPM vinyl records with everything but the kitchen sink, from a guitar pick to a reproduction of the Writer’s original handwritten notes. Dashboard is now out on a celebratory tour marking 10 years in a flash at The Cannery Ballroom on March 31^st.

The Swiss Army Romance Deluxe ++ Edition

In an age where rock has Elder Statesmen from Ozzy Osbourne to Bono, Chris Carraba and band have weaved through the once mega chains such as Tower Records to the now perfunctory Indie cred of Grimey’s. Dashboard Confessional has always managed to find a spot from the first Volley of The Swiss Army Romance to what was their peak success in 2003 of A Mark, A Mission, A Brand, A Scar that peaked at #2 on the Billboard Charts.

Chris Carraba and Dashboard Confessional were willing to take on anything including the MTV Unplugged show that resulted in a subsequent Live, MTV Unplugged 2.0 that was #1 on the Billboard Indie charts in 2002.

Dashboard’s last recorded effort, After The Ending, released late in 2009, still showed staying power at #6 on the Billboard Rock Charts. They have navigated Rock Radio in probably the most difficult decade to retain status due to strong songwriting and consistent material.

Chris Carraba is known for bringing his own intense emotions into his songs and his stage performance, having toured with everybody from New Found Glory to Bon Jovi, they have reached across generations with a strong lyrical content and deep singer-songwriter roots, it is the alternative for the alternative crowd to the typical Tin Pan South fare going on elsewhere in Nashville next week.

Even though Chris is comfortable playing solo or with another guitarist, he always comes back to the full band,” I always find myself doing Dashboard instead because I think this is the–there’s the least boundaries within this band. Plus I love relationship I’ve been kind of fortunate to have with my audience. It’s personal and unique. So I’ve got to say that’s why I’ve stayed interested, because you can only play the same songs up there in front of people. Every year I put a record out, but you’re still basically playing the same songs for years. And it’s the genuine heart that those kids bring with them, and the fact that they care–seem to care–as much as I care about it–maybe more, strangely sometimes. That’s what makes me able to do it for as long as I’ve done it. And maybe, hopefully be able to do it for many more years.”

Touring with the 10^th Year Anniversary re- release of The Swiss Army Romance will give earlier fans a chance to re-connect with the music while new Nashville fans can find a great point of reference with one of the best cross-genre songwriters of this generation. The March 31^st show at Cannery Ballroom presented by AEG Live is a show not to be missed.

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

Categories AEG Live, Cannery Ballroom, Chris Carraba, Dashboard Confessional, Emo, Music, Rock Music, Uncategorized

Guitar Virtuoso Leo Kottke at TPAC Polk Theater March 16th

February 28, 2011 //

Leo Kottke burst onto the scene at the beginning of the Seventies with a fresh approach to the acoustic guitar, especially with open tuned fingerpicking style on 12 string that influenced generations of Guitarists after him, such as Pat Metheny, Michael Hedges and Tommy Emmanuel. AEG Live/ The Messina Group will bring the Player’s Player live to TPAC’s James K. Polk Theater on Wednesday, March 16^th.

Leo is best known for his Polyphonic Syncopated Melodies and use of detuned obscure chords. His first album recorded in 1969, 6 and 12 String Guitar on Takoma Records, has been reissued many times as it was a blue print for what was possible, thinking outside the box, Leo was the Allan Holdsworth of the steel string acoustic.

Leo was so amazing as a solo performer and recording Artist that he was picked up by Capitol Records in the Seventies, releasing five albums by 1975 including Dreams and All That Stuff which peaked at #45 on the Billboard Charts. Leo then moved on to Chrysalis Records until 1983. The music business finally caught up with Leo’s forward process when he moved to New Age Label, Private Music in 1986. This was a productive time with a community of musicians looking for inventive composition achieving one of his highest chart positions with That’s What at #24 on the Billboard Charts.

Leo has worked with several Artists including Lyle Lovett, Rickie Lee Jones, Chet Atkins, David Hidalgo and most recently released two critically acclaimed albums with Phish Bassist, Mike Gordon , Clone and Sixty Six Steps. Sixty Six Steps featured some interesting covers of “Sweet Emotion” the classic Aerosmith song as well as “Oh Well” the Peter Green penned Fleetwood Mac song.

Leo who was born in Athens, Georgia and grew up learning to play the style of Mississippi John Hurt in Muscogee, Oklahoma, eventually incorporated many influences from Delta Blues, Jazz and Folk Music. In much the same way as Mandolin Player Sam Bush and Banjo Man Bela Fleck he has always sought to re interpret traditional American Music in an ever expanding portfolio of methods.

When Leo had problems with tendonitis, he learned to find new tones without using fingerpicks, developing a more jazz fingered style method, as well as going the way of the Singer/Songwriter at times. Despite being so advanced in his own style, Leo still is amazed at some of the prowess out there, “I hear people playing who baffle me. I can’t see how they’re doing it — either so soon because they’re so young or despite being laid up because they’re so old. It’s frustrating, this bafflement, only because I’ve never really done my homework, the quotidian, day-to-day scut work of concentrated study, and I owe it to people like Federico [Franco], or Snoozer [Quinn], to do that … they did. I admire these players”.

Leo’s life has been one of an ever changing music chameleon having started during the time of Bob Dylan and Jimi Hendrix through the New Age Music Era and in a way going full circle working with Jam Band Alumni Mike Gordon, the guitar has been there always,” It saved my life when I was a kid. I’d been sick. Now it is my life. I wouldn’t call it joy, but that’s in there. It’s more than joy — and it gives me the creeps just saying that — but it’s true.”

Leo has played on several makes and types of guitars over the years before finally becoming a Signature Artist for Taylor Guitars with his own co-designed 12 string model. The TPAC Polk Theater will be a great forum to connect with a guitar community for the most essential element to Nashville is the guitar and there are more guitar players in Nashville than anywhere else in the world and the best of the best will no doubt be in attendance on March 16^th for the inspired playing and improvisation of Leo Kottke.

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

Categories AEG Live, Allan Holdsworth, FNA Records, Leo Kottke, Mike Gordon, Music, Phish, Takoma Records, TPAC Nashville, Uncategorized

Alabama Profile One: Tristan Dunn

February 4, 2011 //

Tristan Dunn, Nashville, TN

From the very first time Tristan Dunn played at Sharky’s, a memorial night for Topper Price [ the famed Gravel voiced Birmingham native that could blow Blues Harp like nobody business], Tristan realized that he was not only stepping out in the late night Alabama air, but that it was time to start to realize his ambitions to play Southern Rock, with his early roots in the family favorite traditional Country, Tristan wanted to play Southern rock, the road travelled by Lynyrd Skynyrd, Charlie Daniels, The Allman Brothers Band, The Marshall Tucker Band and Molly Hatchet.

“My Great Grandmother’s favorite was Hank Williams Sr., but, when I was Fifteen I picked up on an album called Skynyrd Friends where different Country Artists were playing Lynyrd Skynyrd songs. Alabama played “Sweet Home Alabama” and I started learning Southern Rock on the Squire Telecaster my parents got me when I was thirteen. Fifteen was the year when I decided this is what I wanted to do.”

Tristan with Rollin Roger

Tristan has a strong voice that can carry a Merle Haggard tune just as strong as Merle himself. Even more than the voice, Tristan went from guitar to learning the fiddle when he wanted to master Charlie Daniel’s “ South’s Gonna Do It Again”. The song has become a showstopper for his band, Rollin Roger who play regularly in Alabama playing all things Classic Southern Rock.

“South was the first song of the second set when we were playing a show at The Central Club, one of our favorite venues in Leeds, Alabama, and there were these three College age Guys. I realized if I could do something to remember us we could get some Frat gigs. I was laid out on the table wailing away when one of the guys started pouring Beer into my mouth and I knew we had a hit then.”

Rollin Roger started in 2006 with Forrest, Roger the Soundman and Mike the drummer who had played in several bands over the years.

“I was checking want ads at Bailey Brothers down in the Southside (Birmingham) in November 2006. We were on the same musical page but it took us until 2008 to get the right people in the band.”

Tristan was born in 1984, he jokes,”…and the world went to hell the next day”. Tristan was diagnosed with a form of Autism known as Pervasive Developmental Disorder. “It shows up when you’re younger but as you get older you learn how to communicate better. A lot of the Obsessive Compulsive tendencies go away as I get older. The hardest thing growing up was dealing with kids my own age. I moved to Vestavia, (A Birmingham suburb) when I was eight years old from Hueytown. Vestavia kids were such that if you were different in any sort of way you were an outcast, got picked on, and exploited, that sort of stuff. I used to come home crying just about every day when I was young.”

Tristan with The Purple Fiddle

Tristan was asked by the Alabama Interagency Autism Coordinating Council to be a Consultant. He regularly travels down to Montgomery representing as a Functioning Adult with ASD to give input on whatever programs they plan to put into effect for the State of Alabama.

Music helped Tristan deal with his differences and gave somewhere to focus the anger and negative energy and turn it into something good. “I did a show called “Vestapalooza” in 10^th grade. There were bands and I was the only solo act playing Fiddle, Guitar and Singing. “

In the last couple of years Tristan has become a “go to” Harmonica man and has sit in with several Birmingham artists such as Todd Simpson & Mojo Child, Adam Guthrie, Chris Porter and Stuart McNair. In a way he has picked up where Topper Price left off but doing it his own way.

Tristan has also been on stage in Nashville with Tyler Dickerson at Tootsie’s and Jake Bowry at The Broken Wagon Wheel. “Garth Brooks’ Harmonica man, Terry McMillan was the most sought after Harmonica player in Nashville and he played on “Aint Goin’ Down Till The Sun Comes Up”.” Whenever he heads out into the night, he wears a custom fitted shirt with three or four harmonicas ready to join in on the Blues, Country and Rock and Roll. Tristan feels “In Color” by Jamey Johnson should have had his Harp playing on it.

In the last couple of years Tristan has been an extra in a couple of Indie films, October Baby with John Schneider was a lot of fun being a fan of The Dukes of Hazard, also “Company M Mob of Soldiers” where he was featured in three scenes as well as playing a juror. “I was kind of found by ACT (Americas Choice Talent) Models and Talent Rep. Sativa “Andy” Banks. Andy has been a big supporter of Tristan who he said originally pointed out his hair and thought he would be great for hair care product promotions.

One of Tristan’s favorite hobbies is getting involved in Civil War re-enactments. “When I am running around in a color guard I forget I am in 2011 and begin to think I am in a combat zone in 1861. When I put on my clothes I am a whole other person. I feel like I am in an actual battle and could actually be killed and it makes my body react better on a subconscious level.” Tristan was told this was a mark of a true professional and he feels it has helped him with his acting.

Tristan can be found in and around Birmingham with Rollin’ Roger or sitting in at Metro Bistro and other venues as he develops his playing and writing with an eye towards the future.

Tristan, Birmingham, Alabama 2007

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

Tags Tristan Dunn

Categories Adam Guthrie, Alabama Music, Charlie Daniels, Lynyrd Skynyrd, Molly Hatchet, Music, October Baby, Rock Music, Rollin Roger, Topper Price, Tristan Dunn, Uncategorized

Parrish Hultquist Net Radio Tribute

January 30, 2011 //

Cory Draper will be hosting a tribute to Wolfgang, with plenty of Parrish in the tracks tomorrow night at:

www.purerockradio.com

The show time will be from 8pm to 10pm Pacific time with former band members and other Rock Artists who knew Parrish from Salt Lake City calling in.

Watch and listen for the Parrish story on the Wasatch front on KSL.

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

Categories Parrish Hultquist, Uncategorized

Parrish Hultquist, Utah’s Greatest Guitarist Gone at 48

January 30, 2011 //

Photo – Brad Hood

When Parrish Hultquist started playing out at age 15, Utah had no idea what they were in store for.

After first tracking at Bonneville Studios for a band called Equinox, he developed his songwriting with Adrian Scott and Brad Hardisty in Roxx. Within a few short years, he was out performing originals with Moviescreen who released their first album in 1984.

Moviescreen

By the time Moviescreen started playing at The Generation Gap, Parrish’s lightning speed and interesting chord changes set him apart from what was available at the time in Utah. Parrish was learning from just about every imaginable influence from early Ritchie Blackmore, Eddie Van Halen, Randy Rhoads to even Jazz artists like Al Di Meola and Allan Holdsworth. If he heard it, he could play it.

Wolfgang at Rafters-photo-Brad Hood

During the early 80’s he challenged himself to study classical nylon guitar only to find out that his teacher from the University of Utah had taught him everything he knew in six months. Anything that he would challenge himself to do on the guitar he could accomplish. He was a guitarists’ guitarist.

Parrish excelled in his abilities and quickly became bored or disinterested if the band he was in was not up to pushing as fast as things should be, reached a plateau or could not see his vision. Most of the time Parrish was the only guitarist in the band, but, those that were fortunate enough to share the stage with him found it to be an exhilarating experience.

Megattack Raw Delivery 1986

Parrish took guitar seriously and was not up for sharing the stage with somebody he would consider subpar. Probably, the most successful band that Parrish performed with was Megattack with the dual guitar attack of Parrish Hultquist and Jay Gough. They played regional shows from Salt Lake City to Boise, Idaho with crowds of a 1000 or more. Megattack’s first album Raw Delivery took off in Europe just as the band broke up.

Wolfgang, Parrish,2nd in White pants

Parrish played in numerous projects in the late 80’s, such as Terra’s album Flames of Passion (out of print) featuring brothers Dana and Kevin Freebairn and early 90’s, most notably Wolfgang who played regularly in Salt Lake City and played tour dates opening for bands such as Extreme and Tesla. Wolfgang recorded several unreleased tracks and a few videos that can be found on YouTube nowadays.

Megattack , Raw Delivery era, Bryan Sorenson, Jake Oslo, Rick Jackson, Parrish Hultquist, Patrick Carter, photo courtesy The Bryan Sorenson Family

Parrish created a lot of buzz as a guitarist and garnered compliments from other contemporaries such as Michael Schenker and George Lynch. He started to appear on Metal Fanzine covers as the next big thing or the Intermountain Music Scene secret weapon. It would be a fact that Parrish would not have a problem tangling with any guitarist on stage doing anything from Metal to Jazz to Classical Music. He was an accomplished musician who studied everything he could get his hands on.

Megattack, photo courtesy The Bryan Sorenson Family

Parrish began to have medical issues, a very rare seizure problem in the mid 90’s that began to slow down his ability to perform. He took whatever energy he did have to creating demos off all of his song ideas in his home studio and took opportunities to record with friends.

Megattack in 2006, Jay, Richard, Rick, Parrish and Bryan

In 2005, the opportunity came to record with the original Megattack line up and a follow up to Raw Delivery called Save The Nations was recorded. The album was professionally mastered at Airshow in Colorado. Parrish put as much as he could into his songwriting and playing. He was constantly dealing with seizures although he was grateful to have the opportunity to record again and perform on stage in Salt Lake City. Although medical issues would keep him in Spokane, W A., where his family lived and where he had medical attention, he was grateful to perform saying finally his daughter, Taylor, was able to see him perform with the band that garnered so much success in the 80’s.

One time he was riffing away at a visit to Guitar Center in West Valley later in years when a Salesman was blown away and asked if he had ever heard of Parrish Hultquist, that his Dad use to hang with him and he was considered the best guitarist to ever come out of Salt Lake City. He finally busted up a little and explained that he was Parrish.

Travis, Shawn and Parrish

If Parrish respected you as a musician or as a person he was a lifelong friend. While he had a hard time with people that were not what he considered real, judgmental or dishonest he was ready to include those that he could tell were on the fringes whether they were shy, handicapped or otherwise feeling left out. He had a sense of humor and a personality that would light up the room or the face of a girl working as a Checker at the Grocery store. If he wanted to engage you in conversation or merriment there was no stopping him.

Back row, Parrish, Rome, Shelly, front, Stacy, Tracy, Ronnie, Shawn and Travis

Parrish never made the natural choice to go out to the LA scene in the 80’s. He loved Utah, Idaho and Washington State. He never wanted to be too far from family. He was the oldest brother of eight children. The last several years with his health problems he was never far from his sisters and his Parents in Spokane, Washington.

Parrish was preceded in death by his younger brother, Shawn Hultquist, who had heart problems and while waiting for a heart donor died in 1998. His mother Gay Lynn Saunders also passed away a few years ago. The surviving family, his father Ron, Stepmother Jacque, Travis, Rome, Shelly, Stacy, Ronnie, Tracy as well as Cory and Billy are gathering for a Memorial in Spokane, Washington over the next few days. His engaging personality and talent will be sorely missed but warmly remembered.

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

Tags Bryan Sorenson, Jake Oslo, Megattack, Parrish Hultquist, Patrick Carter, Rick Jackson

Categories Dana Freebairn, Eddie Van Halen, Hair Metal, Jazz, Matt Udall, Megattack, Moviescreen, Music, Obituary, Parrish Hultquist, Rock, Rock Music, Salt Lake City, Terra, Uncategorized, Utah, Wolfgang

An Open Bama Letter to Oxford American

January 12, 2011 //

Eddie Hinton,white shirt w/ Wayne Perkins

Before heading down to Helena, Alabama to visit my sister and pickup my Soldano speaker cabinet, I picked up the latest Oxford American Magazine, their annual music issue because it was all about Alabama music not only in written word but featured a CD with 27 tracks, some of them extremely rare all telling different stories from different times and different parts of the state, not just regional but a mix of Blues, Rock, Gospel and even Zappa label material.

I threw in the CD as I headed down 65 towards Birmingham and took the ride through the Birmingham soul of Ralph “Soul” Jackson to Curley Money out of Dothan, Alabama. It was a wonderful ride and I learned things I didn’t even know being in the Birmingham Scene for a few years. I was happy to see the story told about how the Indie Rock Scene started with Jim Bob and The Leisure Suits with drummer, Matt Kimbrell (RIP). I saw his brother, Mark Kimbrell play in 2007 at a Sunday night Jazz Jam with Chris Fryar (then of The Allman Brothers Band now The Zac Brown Band) at Marty’s in the Five Points area.

Blues cannot be any rarer than Dan Pickett and Country more honest than Charlie Louvin and they all are here. Well at least for what one can do on a single CD without going to the obvious such as Brother Kane or The Commodores.

Eddie Hinton ID shot

As the music went on and I read the great essays, I kept asking myself where is Eddie Hinton? Obscure or not, the story of Muscle Shoals or the heart and soul of what is Alabama cannot be told without Tuscaloosa bred Eddie Hinton. It is possible for somebody looking at Alabama from the outside to miss the mark but if somebody is a serious Muscle Shoals or Alabama music fan or musician you cannot escape learning the story of Eddie Hinton.

“When I first came to Muscle Shoals it didn’t take very long before I became aware of Eddie’s singular talents- as a composer, lyricist and gifted Composer- and was touched by his original, offbeat and engaging personality…When the greatest artists came to Muscle Shoals they would hone in on Eddie – Aretha, Cher, Lulu, Bob Dylan would end up on the back porch of the Jackson Highway Studio with Eddie, pickin’ guitars and communing quietly in the Alabama evening. To this day I still play his records with great enjoyment. He remains unique – a white boy who truly sang and played in the spirit of the great black soul artists he venerated. With Eddie, it wasn’t imitation; it was totally created, with a fire and fury that was as real as Otis Redding’s and Wilson Pickett’s.”- Jerry Wexler, Producer with Atlantic Records.

Where’s Eddie? Can you find him?

I had heard, in reverence, several times about Eddie Hinton. Local Musicians in Birmingham would say “He was the greatest.” The most important revelation was when I talked to the “Swampers”, the Musicians that knew and worked with him at Muscle Shoals Sound.

On April 18th 2007, there was a benefit for Scott Boyer, who was a songwriter and played in Cowboy on Capricorn Records back in the Seventies. I had the opportunity to be part of the stage crew where a Muscle Shoals all star line up with everybody from David Hood, Dan Penn, Spooner Oldham and a cast of characters played with Bonnie Bramlett and Gregg Allman headlining.

I caught story after story from a time going back thirty plus years. I got into conversations and often asked who the most important player was during the Muscle Shoals era and over and over again the name Eddie Hinton came up. His story is one of triumph, tragedy and post mortem glory. In the last few years his recordings have been gathered from out of print Capricorn Records to rare self released material and put onto a collection of CD’s. They are not easy to find but one can start with Anthology-1969-1998 A Mighty Field of Vision.

Marian McKay

Late last Saturday I went and saw Charlemagne Records’ Marian McKay singing jazz standards at Crestwood Coffee Company with The Mood Swings. Charlemagne Records is the one of last independent record stores in Birmingham not unlike Grimey’s it has a long rich history when Marian, her brother and a best friend started the shop in 1977 and it has remained at the same location in the Five Points area since then. The shop has lately seen a resurgence as vinyl is becoming increasingly popular among collectors.

We talked about the Alabama issue of Oxford American and how fantastic it was and the people they didn’t forget but when I brought up the fact that Eddie Hinton was not included there was nothing but silence. Eddie was the elephant in the room. Obviously, there were others left out but he was the one who sat in the doorway of Muscle Shoals Sound trading licks and stories, had Duane Allman crashing on his floor when he came to do session work and had style and songs that only fit in Muscle Shoals, where when he ended up moving because of a small marijuana bust in the seventies that forced him to leave town kind of lost his stride and place in the world. He remained an Alabaman to the core even if it meant living in his van in Birmingham in later years before he passed away in 1995.

Eddie with his trusted Tele

There are so many tracks not known by most the world but worthy to wave the Muscle Shoals flag such as “Concept World”, “Sad and Lonesome” or “Heavy Makes You Happy.” It is singular talents such as Eddie Hinton that I discovered while living in Alabama that make me proud that I was a part of that scene for some years.

The State of Alabama has gotten behind this presentation and declared 2011 “The Year of Alabama Music”. I am going to do my part by spotlighting at least one artist a month with roots in Alabama past and present. I may have been born in California but Alabama is where I met Gregg Allman, Willie King, Tim Boykin, Mark Kimbrell, Chris Fryar, Adam Guthrie, Mandi Rae, Ian, Rick Carter, Kendra Sutton, Topper Price, Rickie Castrillo, Marty, Nathan Whitmore, Rick Kurtz, Rooster, Perch, Billy, Heath Green, David Hood, Kelvin Holly, Jesse Payne and Taylor Hollingsworth. Alabama, the beautiful, where I got my “Mojo”.

Marian McKay & Her Mood Swings/ Live/ Birmingham,AL 1/8/2011

I may call Tennessee home but my heart is in Alabama.

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

Categories Adam Guthrie, Alabama Music, Bonnie Bramlett, Charlemagne Records, Cher, Crestwood Coffee Company, David Hood, Eddie Hinton, Gregg Allman, Jesse Payne, Marian McKay, Muscle Shoals Sound Studio, Music, Rick Kurtz, Taylor Hollingsworth, Tim Boykin, Topper Price, Uncategorized

Recent Paramore Shake Up

December 23, 2010 //

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

Categories Alternative Music, DGC Records, Geffen Records, Hayley Williams, Indie Rock, Joan Jett, Kim Fowley, Music, No Doubt, Paramore, Puddle of Mudd, Rock Music, Sub Pop Records, The Runaways, Uncategorized

Year in Music and My Top Ten 2010

December 7, 2010 //

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

Categories Americana Music, Americana Music Festival, Ampex, Amy LaVere, Analog Recording, Apple Records, Badfinger, Black Mountain, Bloodshot Records, Buddy Miller, Byron House, Carnival Season, Charlie Louvin, Country, Country Music, Darrell Scott, FNA Records, Geffen Records, Grimey's, Hair Metal, Indie Rock, Jefferson Airplane, Jim Lauderdale, Jimi Hendrix, John Mellencamp, Kort, Lost Highway Records, Merle Haggard, Mike Farris, Music, Old Crow Medicine Show, Patty Grififn, Preservation Hall, Preservation Hall Jazz Band, Robert Plant, Rock, Rock Music, She & Him, Sweet Apple, T Bone Burnett, The Rolling Stones, Tim Boykin, Uncategorized, West Coast Seattle Boy, WSM 650

Every Guitar Tells a Story: Phase Two

November 6, 2010 //

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

Categories Derrick Lee, Eddie Van Halen, Gallien-Krueger, Guitar, Ibanez Guitar, John Schofield, Kramer Guitar, Leatherwolf, Mosrite Guitar, Moviescreen, Music, Rock, Rock Music, Snow College, The True Detectives, Uncategorized, Van Halen, Wally Gerrard