Debbie Bond Radio Taping For Mando Blues

April 14, 2013 //

Debbie Bond was the guest last Monday night on WRFN Radio Free Nashville’s Mando Blues Show recorded in a huge army tent at Omega Studio high on the top of a peak at an undisclosed location in the nearby Nashville wilderness.

A fantastic crew with Tony Gerber , known for his electronic music compositions, acting as host for the night, went to work on soundcheck with Debbie and her band featuring Rick Asherson on keyboards and Dave Crenshaw on drums getting a much bigger than it looks sound going into the green spec recording layout.

Omega has developed a layout for power using not much more than six car batteries, car stereo amplifiers and LED lighting to run at a deceptively low 1600 watts with state of the art recording as can be seen by linking to the net recordings of the summit.

Debbie brought much more than just blues experience playing with Willie King and Johnny Shines for almost thirty years in Alabama displaying soulful grooves with a nod to Muscle Shoals, Alabama writers like Eddie Hinton, Dan Penn and Spooner Oldham. In this case, the western Alabama juke joint grooves may be at the heart, but, this was soulful blues.

Debbie brought three new songs that will be featured on her next album, “Find A Way,” That Thing Called Love” and “Steady Rolling Man,” that fit right in with “I like It Like That” from her days with Willie King as well as some songs from her most current release Hearts Are Wild with a stand-out version of the slow ballad blues of “Falling.”

Nashville session saxophonist Tom Pallardy sat in later in the set after a successful collaborative prior night set at The Nashville Jazz and Blues Awards at Bourbon Street in Printers Alley.

Host Tony Gerber paid tribute to female blues artists with his in-between tracks that also featured some rare Richie Havens and alternative version material.

Mando Blues is an esoteric record store workers dream where true collectors and music geeks get to hear all things blues and related materials. They all get a little spotlight. There may be no show quite like this in the world.

An invited group of about 10-12 people got to sit-in on the live recording happening that fit a BBC type production with high production values and plenty of meat in the interview.

Tony asked the right questions that will give any listener the feeling they knew where Debbie came from and what she is about after listening to the two hour show.

Although there are provided links to watch video of each one of the songs, it is well worth the price of free admission to listen to the entire show to get the interview segments as well as Rick’s “Monty Python meets Muscle Shoals” sense of humor.

Debbie is a native of California, but, her time growing up was spent in England and Europe while Rick’s roots are Londontown. Debbie and Rick almost crossed paths in College back in England, but, never actually met until Alabama Bluesman, Willie “Sweet Potato Man” King suggested they get to know one another in Western Alabama.

Roy Wooten aka “Futureman” stopped by to listen in and dug the Alabama soul groove coming out of the eventual four piece band with Rick sometimes playing the utility guy playing bass with one hand on the Nord keyboard and blues harp with the other hand and singing back – up vocals. If he had one more arm, they probably could have a full horn section.

Tom Pallardy’s sax fit right into the song as if he had been playing with Debbie for years but, in reality he had not heard much of the material. Dave Crenshaw brought down the volume on the drum kit to match the production set up without losing any of the grooves, in fact, it brought out the true dynamics of the songs.

Debbie was so happy with the production and final mix of the material that she has already talked about further recording collaboration with the Omega team.

It can be said, that there is probably know recording studio like it in the world, with its MASH style tent set up and being at the mountain peak as well as a crew with ears straight out of a JBL lab anechoic chamber. They know what they are doing and they love what they are producing.

While production was going on, some of the staff was busy cooking a meal fit for a king in a wood burning cast iron stove in cast iron pots. The band and crew were treated to Venison Stew, fresh picked greens and chicken after the final wrap.

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

all photos (c) Brad Hardisty

Tags Alabama, Dave Crenshaw, Debbie Bond, Mando Blues Show, Music, Nashville, Omega Studio, Rick Asherson, The Alabama Blues Project, Tom Pallardy, Tony Gerber, Willie King

Categories Blues Music, Muscle Shoals Alabama, Music, Music City

Nashville Jazz and Blues Awards Goes Down Smooth at Bourbon Street

April 13, 2013 //

“Some who have made their way to Music City think that it is all about country music…OH NO!!!”

The Nashville Jazz and Blues Awards started up about 4:30 in Printers Alley just a few doors down from Jimi Hendrix’s old gig with Billy Cox back in the day at The Black Poodle inside Bourbon Street Blues and Boogie Bar which boogies all week long with Blues, Jazz and plenty of fretboard sweat.

Gil Gann was hot and MC for the night cuttin’ it up and gettin’ down on the guitar.

Phase 6 acted as house band, while the all-stars rotated on and off the stage like a Pancake Buffet Breakfast at Shoney’s.

The awards show is sponsored by The Marion James Musicians Aid Society which helps musicians in need, especially from the rich rhythm and blues heritage that was on and off Jefferson Street from the fifties through the mid-seventies.

Tina Brown really started getting things going like Tina Turner on an Etta James afternoon. Tina has a strong voice and personality to match.

Phase 6 features two generations of serious players; Samuel Dismuke on bass and Samuel Dismuke Jr. on dual duty as vocalist and Trombonist. Long time collaborator Eddie Carter still kicks it on the drums.

Alabama Blues master, Debbie Bond, played her first set in Nashville at The Jazz and Blues Awards warming up the crowd with a teaser song early on before coming back and playing a set later on in the show. When Debbie Bond took the stage for her full set with Moe Denham sitting in on Hammond B3, she brought some serious Alabama roots with a little of her Willie King experience as well as some Eddie Hinton style Muscle Shoals groove to the local Blues venue. It was a welcome change to what could be considered a get your game on attitude among Nashville’s players.

Awards were given out in several categories to artists that gig in and around Nashville. Jefferson Street Sound Artist, Don Adams won best Bassist while Regi Wooten won best Jazz Guitarist of the year.

Regi Wooten did a barnburner abbreviated set starting out with a laidback jazz version of “Crystal Blue Persuasion” taking the band as far as he could with some John McLaughlin sans Vernon Reid go where you wanna go Lead guitar work that turned it up a notch. Regi’s band, The Wooten Brothers, which tear down the house every Wednesday night at 3^rd & Lindsley, took home Best Live band of the year.

Lola Brown sang backup for Marion James before taking the spotlight herself later with her backup band Area Black featuring Jerome Preston on Bass after Jerome finished a set with Regi Wooten. Lola put it all out there after winning R&B Vocalist of the Year. Lola really brought the church into the boogie bar.

Marion James took home a pair of awards which were judged by local Blues and Jazz Artists as well as some special attendees for Female Blues Singer of the Year as well as her recent Ellersoul release, Northside Soul for album of the year. Northside Soul has garnished some national recognition with rave reviews in several publications as well as awards from B.B. King’s Sirius Radio Channel and a Top Ten on the Living Blues Charts.

Marion James’s set was a barnburner with her singing from her gut, old school, Otis Redding reborn experience thrown into, “I Just Want To Make Love To You.” Marion is the heart and soul of Nashville R&B history having released three singles on three different labels back in the day, one written by her husband Buzz Stewart on Excello, the top ten hit, “That’s My Man” as well as two other songs by two individuals tied to Jimi Hendrix who used to play guitar for her back when, Billy Cox and Larry Lee.

In more recent times, Marion has released three solid albums in the last dozen years that not only spotlight her voice, but, some excellent songwriting that would not only put her in the spot as “Nashville’s Queen of The Blues” but within an elite group of two or three as Queen of The Blues from a last Blues woman standing viewpoint since the passing of Precious Bryant in January.

The Nashville Jazz and Blues Awards is something a very down home event in complete contrast to the glitz and glam of the Country music industry. Marion James almost singlehandedly has wanted to support recognition for the Blues and R&B community of Nashville.

Marion James has this to say: “Down through the years, everyone has come through or stumbled upon Nashville, Tennessee to either visit or make their mark in the music industry. Some who have made their way to Music City think that it is all about country music…OH NO!!!

R&B, Jazz and the Blues have been around for more than just some time. Matter of fact Jazz and Blues are all around you in all of the music. So we are actually not hard to find.

There have been a number of very good musicians that come through Nashville. Some could read, some couldn’t, some could write it down on paper, and some only needed to hear your idea and could play it the first go round. It really didn’t matter because they were very well seasoned and could accommodate any artists that needed them.

Most of our Legends like, Jimi Hendrix, Johnny Jones, Cab Calloway, Ray Charles, Charles Dungey, Milt Turner, Ted Jarrett, just to name a few, have passed on and we must turn the baton over to some of the younger generation, who are worthy, to carry the torch and pave a new way out of what they were brought up on…Jazz, R&B and Blues, and carry on the tradition of the root of it all and with some new and original twists added.

We must continue to raise funds and support these new comers as if we taught them ourselves, as if we have rubbed off on them and put a little of our soul into their soul so that WE may live on in them. Knowing that they will continue in what we love so much and that is “THE MUSIC.”

This is why I love giving the Jazz and Blues Awards event every year. It is an annual event that shows our younger people that we see them, we recognize them, we are watching them, but most importantly we are encouraging them.

So move over Country music and make room for our up and coming talent and artists. Offer them a hand up and a way to succeed. Allow them to keep the music coming and growing. Let’s keep them in the spotlight, because there is a Jazz, Blues and R&B artist standing in the wings, waiting for you to reach out and give them a helping hand.”

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

Tags Area Black, Debbie Bond, Don Adams Bass, Eddie Carter, Gil Gann, Jerome Preston, Lola Brown, Marion James, Moe Denham, Music, Nashville, Samuel Dismuke, Samuel Dismuke Jr., Tina Brown

Categories Music, Nashville, Uncategorized

Sam Bush and Marion James Headline Nashville Metro 50th

April 12, 2013 //

Last Saturday, Nashville celebrated the 50^th Anniversary of Metro Government with a little get together of several thousand people on a rare warm spring day for this year with a celebration of music that included everything from Barbershop Quartet to a Night Train To Nashville All-Star Tribute for the grand finale.

The park in front of the courthouse has proven to be a good place to gather downtown just a few blocks north of Broadway.

Emmylou Harris kicked things off before Barbershop and String Quartets took a turn at the microphone.

Things finally kicked up a notch with one of the twin highlights of the afternoon as Sam Bush and Del McCoury jammed for several numbers trading off flat-picking and mandolin on well-known standards.

For some, this was the reason for hanging at the front of the stage while for others the rare appearance of many of Nashville’s classic R&B era was the reason to party.

Before that, Brenda Lee walked up to the podium and addressed the crowd on what Nashville has meant for her and her career. It’s a great place to live as well as a chance ticket to stardom.

Jimmy Church kicked the Night Train section off with Bobby Hebb’s “Sunny” which is the quintessential song from the classic Jefferson Street years.

Marion James’ did the classic, “24 Hours A Day” with Michael Gray from The Country Music Hall of Fame talking about each song that was chosen and the artists that made them big.

The Valentines made a rare appearance as well as the McCrary Sisters.

It was a great afternoon break and an opportunity for parents to expose their children to some great live music.

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

Tags Brenda Lee, Del McCoury, Emmylou Harris, Jimmy Church, Marion James, Mayor Karl Dean, Nashville, Sam Bush

Categories Music, Nashville, Uncategorized

Alabama Blues Queen Debbie Bond Set to Play at Blues Awards Tonight

April 7, 2013 //

Debbie Bond, photo – Thomas Z’Graggen

“The last thing Willie King said to me was, “Keep on pushing Debbie!” – Debbie Bond

Debbie Bond will be playing for the first time tonight in Nashville at The Nashville Blues and Jazz Awards that begins at 4PM with a $10 door at Bourbon Street Blues and Boogie Bar and is presented by The Marion James Musicians Aid Society to benefit the heritage musicians that lived and worked around the Jefferson Street community in the R&B heyday from about 1950 through the mid-70’s.

Debbie’s most recent album Hearts Are Wild got a thumbs up from the Nashville Blues Society last year after its release. Hearts Are Wild is Debbie’s second solo album and her first since Willie King passed away in 2008.

Debbie, as well as her husband Rick had been a part of Willie King’s band for several years playing in and around Alabama as well as touring Europe.

Debbie Bond has also spent several years developing The Alabama Blues Project that educates young and not so young children about blues music and gives them the opportunity to develop the skills to play blues music.

Debbie feels that Alabama has never received the recognition that it deserves in relation to the development of Blues and American music. Essentially, Alabama really is joined at the hip with Mississippi and there was a lot of cross-state-lines intermingling goings on from the very beginning.

Brad Hardisty/ The Nashville Bridge: How long have you been living and playing the Blues in Alabama?

Debbie Bond: Thirty years. I actually came here in 1979.

TNB: Was it originally to work with Johnny Shines?

Debbie Bond, photo – Robert Sutton

DB: It wasn’t. It was just to visit some friends and I was kind of going through some heartache stuff in England and I…uh…originally it was just to come for the summer to get away. But, one thing lead to another and well… included hooking up with Johnny Shines (A contemporary of Robert Johnson).

TNB: You were playing guitar at the time?

DB: Yeah, I was playing guitar. I really started off playing acoustic guitar. I was playing folk songs and I love the blues. I was in a band in England when I was in College in ’75 through 1978 and we played that music in Brighton, England. So, when I came here, you know, I really didn’t know what I was getting myself into. I had a lot of prejudices about Alabama and Alabama culture and the south. I had my mind blown by the music and the food and the southern culture. I was humbled. I was brought to my knees. I ended up staying.

TNB: I was kind of the same way. I thought the south would be a certain way and it was totally different than I figured. So, the last project that you were in was a group before you went solo and that was playing with Willie King, right?

Debbie Bond onstage with Willie King

DB: Yeah, the last band and probably the most serious musical situation that I was in was with Willie King for the last seven years of his life. I toured and recorded with him. Rick, my husband is British and before I married him he had hooked up with Willie and Willie introduced me to Rick. Willie was the best man at my wedding and we married at Freedom Creek and so I have Willie to thank for that big time besides the musical experience and so that was a really big blues experience in my life.

TNB: Did Willie meet Rick overseas?

DB: No, he met Rick here. This is a crazy story but Rick was in Clarksdale, Mississippi and went into Jim O’Neal’s little shop downtown and asked where there was he could hear some blues tonight and they said, “Well, there’s no blues here.” But, because of the connection to Jim O’Neal, a lady who ran the record store and also sold kind of voodoo stuff, said, “There is the Freedom Creek festival over in Alabama tonight.” Rick actually drove all the way to Pickens County, Alabama, which was four and a half hours away. He ran into somebody who didn’t know where The Freedom Creek Festival was and sent him all the way to Tuscaloosa which was another hour out of the way. Rick happened to see my notice and directions in the local record store, Oz Records in Tuscaloosa, then drove all the way back, I mean, then ended up driving into the Festival. His mind was blown. He ended up…Willie said. “Stay.” Rick stayed with Willie camping out there and staying in his trailer and went on the road with Willie and toured just like that. Rick plays harmonica and keyboards.

TNB: What year was that?

DB: That was in 2002 and then we met. I think we went on one date then moved in together and then we got married and Willie was our best man. We married on Freedom Creek and had our wedding ceremony there and then had our party at the local juke joint.

TNB: So, in 2008 you started working on Hearts Are Wild?

Debbie Bond, photo – Robin McDonald

DB: Yeah, I just started focusing on my own music. I was running the Alabama Blues Project. I founded the Alabama Blues Project and I really just wanted to do my own thing for a change. The last thing Willie King said to me was, “Keep on pushing Debbie!” I just really wanted to do my own music. So, I kind of got the Blues Project on its own feet. We still do things with the Blues Project, but, we just tried to focus on my own music and eventually we ended up putting out Hearts Are Wild. I think our official release date was 2012.

TNB: Have you toured overseas since the release date?

DB: Yeah, we played over in the Tarragona Blues Festival and also we played in England and France actually. When it first came out we played a show in France and also at a radio station then a show in England. The Tarragona Blues Festival is in Spain. We are actually going back to play the festival again in November. I’ve written a song called “Tarragona Blues.”

TNB: So, that is where you are establishing your crowd?

DB: Well, it just so happens, you know how things kind of fall into place. I don’t have a booking agent, so, I am just kind of doing things myself as they come along through Facebook really. Facebook has been really great for me. So, it just so happened that we were going to be in Spain and we were going to be in Europe and The Tarragona Festival just fell into place. I mean it was so synchronistic on the only dates we could possibly do it. So, we did it and they really loved the show. They loved us and are having us back. We are definitely building an audience there and I’m hoping I can release the song, “Tarragona Blues” which I wrote the night before the festival and played at the festival. They really enjoyed it. I want to record it and release it in Spain as a single.

TNB: Are they getting into buying vinyl in Europe like we are in the States?

DB: I don’t know.The fact of the matter is times are hard in Spain like they are in other parts of Europe. Maybe not as bad as Greece, but, it still is hard times. So, I don’t know the answer to that.

TNB: As far as releases. Are they buying songs on the web or do they want product?

DB: I find most people are buying CD’s at shows. You know the web is great for promoting, but, I haven’t found that with my audience. My audience seems to like the real CD.

TNB: Yeah, it seems like here in the states we have a lot of hardcore vinyl collectors now.

DB: I’m hearing that. If I could get just a little bit more on the map and more successful, I would definitely consider putting out a vinyl recording.

TNB: Yeah, it seems like even in limited runs a lot of bands are doing it here in Nashville because we have United Record Pressing. They used to press all of Motown. They have a Motown Suite upstairs in the plant. They are pressing a big portion of what is being done right now.

DB: That’s good to know. I know there is a way to go back to vinyl and I have all my records and we do listen to our records on our record player.

TNB: I’m actually buying more vinyl than I do CD’s right now.

DB: I am hearing that from the record stores. I am going to definitely take that into consideration. But, at this stage in the game I just think it’s so affordable to do CD’s.

TNB: Okay, you have never played Nashville before. Have you played in Tennessee before, maybe, Memphis?

DB: I have not played in Memphis.

TNB: So, this is your first gig in Tennessee.

DB: Yeah it is.

TNB: You are also going to be playing on the Mando Blues Radio Show on Monday.

DB: I’m really looking forward to it. I’m hoping you can make it.

TNB: What are you looking forward to the most about being in Nashville?

Debbie Bond, Rick on keys, photo – Robin McDonald

DB: I feel like it’s an adventure. I have great sympathy for Nashville because I think it is kind of like Alabama. People don’t think of the blues when they think of Nashville and the fact that there is this really cool blues culture is exciting to me. I fell like it is an honor to be part of the line-up at The Nashville Blues and Jazz Awards that includes Marion James and all these veteran blues musicians. I’m really thankful and excited to be part of it.

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

Tags Blues Music, Bourbon Street Blues and Boogie Bar, Debbie Bond, Nashville, Tarragona Blues Festival, The Alabama Blues Project, Willie King

Categories Uncategorized

Tin Pan South at Station Inn

April 3, 2013 //

Rory Lee Feek, Tin Pan South 2013, Station Inn, photo – Brad Hardisty

“I slept my way to the top!” – Rory Lee Feek

Chris Caminiti, Tin Pan South 2013, Station Inn, photo – Brad Hardisty

The Historic Station Inn still survives in the rapid developing Gulch area just south of downtown and Tin Pan South kicked off with the late set on April 2^nd featuring Joey + Rory aka Joey Martin Feek and Rory Lee Feek (“Cheater, Cheater”), Tonya Lynette Stout (“What The Devil Wants”), Erin Enderlin ( “Last Call”) and up and coming Chris Caminiti (“Better Than Me”) performing in the round while across town at 3^rd & Lindsley the writers from the hit TV show Nashville were creating a lot of buzz.

Nashville has been through a long lonely winter and tonight was no exception with temps already dropping into the 40’s as everybody got their popcorn and a cold one and settled down at the long tables that The Station Inn is known for.

The crowd seemed to be from every corner of the globe from Canada to England and beyond. It seems like fans outside the United States value song craft and the creators more than those that live within the 48 contiguous states do.

Tonya Lynette Stout, Tin Pan South 2013, photo – Brad Hardisty

Every round needs a leader and Tonya seemed to be the de facto go-to among giants. Joey + Rory were bookended by Chris and Erin which made for quite an interesting spread of influences ranging from Billy Joel to Bobbie Gentry.

Chris kicked it off on acoustic playing off the fact that he was from the northeast and he wasn’t quite Country but was definitely his own thing. Chris moved between guitar and keyboards like it was nothing.

Joey + Rory, Tin Pan South 2013, Station Inn, photo – Brad Hardisty

Tonya brought things into focus and it seemed that the theme for the night began to build on cheatin’ and drinkin’ songs other than the song Chris said fit with his life raising a stepson and he definitely told a great story on that one. Chris wasn’t sure if the song would find a life since everybody in Nashville is trying to be 22 right now.

Paul on Rory’s Axe, Tin Pan South 2013, photo _ Brad Hardisty

Tonya showed classic songwriting style well-developed with a strong voice calling up one of her co-writers, Paul and Rory gladly handed over his six string for Paul to sit in on the fun.

Joey + Rory, Tin Pan South 2013, Station Inn, photo – Brad Hardisty

Rory was articulate on the guitar and comfortable in the catbird seat with his Harlan Howard pedigree. Writing music for Harlan Howard would be the equivalent of getting one of Chet Atkin’s CGP certificates or being Chuck Leavell in The Rolling Stones for all these years. The latter would be truer because in reality maybe The Stones were the lucky ones to get Chuck on keyboards. They know his pedigree better than 99.9% of Stones fans.

Joey + Rory have had some great success over the last couple of years and being out on the road with The Zac Brown Band doesn’t hurt either. They have their own “Honky Tonk Women” with “Cheater, Cheater” that was released on Sugarhill no less. I don’t think Sugarhill is used to having a Top 40 hit.

Erin Enderlin tuning up “Jimmy Dickens”, Tin Pan South 2013, Station Inn, photo – Brad Hardisty

Between swapping stories about being on the road with Zac Brown that ended in a co-write there were stories of how songwriting sessions go in their household with Joey baking chocolate chip cookies and other delights. It sounds like the food starts in the kitchen when songwriting begins in their household.

Erin Enderlin said that when Joey was making BLT’s it kind of made you wanted to hurry up and finish writing so you could eat. It sounded like Erin was a regular at their house.

Erin Enderlin, Tin Pan South 2013, Station Inn, photo – Brad Hardisty

Erin was the last in line but really was more like the fourth at bat with the San Francisco Giants ready to clean up the plates hitting a home run every time. Luckily, she had her 2011 self-titled CD available to take home so I could put “Baby Sister” on cranked up on my way back home.

In a way this was really a contrast between the set at The Station Inn and what was going on over at 3^rd & Lindsley where T-Bone Burnett had been putting his stamp on some very interesting up and coming writers. The set at The Station Inn basically showed that the spirit of traditional country still had a thread and importance and for many outside Nashville a definite relevance just as the TV show Nashville premiers Country with a twist of lime.

Joey Martin Feek, Tin Pan South 2013, Station Inn, photo – Brad Hardisty

All four were great songwriters and were comfortable onstage as well. If I had to take something home, it would be that Rory Lee Feek is a deft guitarist with clean articulate lines and has a great long time duet team going on with Joey. While I was listening to the stories about food in the Feek household while guitars were strumming and words were being penned to paper it made me want to be in on one of those songwriting sessions with Erin and The Feeks or at least stop by the all-night diner down by the Cumberland for some late night breakfast.

Erin, Joey and Rory, Tin Pan South 2013, Station Inn, photo – Brad Hardisty

The other takeaway was Erin; literally, I got the CD so I could rock out to “Baby Sister” on the way home. Erin has enough blues in her music and her voice to make it interesting for me. I also appreciate the fact that she brought along her own utility player laying down some great dobro slide.

If I had to make a pick, I was glad I was at The Station Inn last night.

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

Tags Chris Caminiti, Country Music, Erin Enderlin, Joey + Rory, Nashville, Tin Pan South 2013, Tonya Lynette Stout

Categories Country Music, Nashville

Reverend Peyton Stop In Nashville

March 29, 2013 //

Rev. Peyton greets the crowd, Exit/In, Nashville, photo – Brad Hardisty

Reverend Peyton’s Big Damn Band brought The Big Damn Blues Revolution Tour to Exit/In after playing SXSW last Wednesday night to an enthusiastic Nashvillian crowd along with Jimbo Mathus and opener Alvin Youngblood Hart.

Alvin Youngblood Hart, Big Damn Revolution Tour, Exit/In, Nashville, TN, photo- Brad Hardisty

The Rock Block became on old fashioned blues stomp beginning with Grammy award winning Alvin Youngblood Hart, born in Oakand, California with West Coast roots, Alvin spent a lot of time in Mississippi hearing stories about Charlie Patton and has some firm roots in early blues traditions as well as going nasty on the electric when he wants to be.

Jimbo Mathus, Exit/In, Nashville, TN, photo – Brad Hardisty

The whole show had a Mississippi feel to it when Jimbo Mathus hit the stage with The Tri-State Coalition on the heels of his latest release White Buffalo. Jimbo is well known for mixing it up with a line between traditional country, Mississippi Blues, Southern Rock and anything he feels like mining for his own song structures. A true southern boy, his band burned through a set of Mississippi Country Blues.

Rob McCoury on banjo with The Big Damn Band, Exit/In, Nashville, TN, photo – Brad Hardisty

Breezy Peyton, Exit/In, Nashville, TN, photo – Brad Hardisty

Rob McCoury came in as a surprise guest during The Big Damn Band set with Breezy kickin’ it on the washboard and Aaron “Cuz” Persinger on the skins.

Jimbo, Alvin and The Rev, Exit/In, Nashville, TN, photo – Brad Hardisty

Late jam session, Exit/In, Nashville, TN, The Big Damn Revolution Tour, photo – Brad Hardisty

Alvin Youngblood Hart, Electric Warrior, Exit/In, Nashville, TN, photo- Brad Hardisty

Towards the end of the set, Jimbo and Alvin came on for an all-out jam, first as an acoustic trio, then the full Big Damn Band with Alvin switchin’ to a big ol’ heavy Les Paul.

Rev. Peyton’s Big Damn Band, Exit/In, Nashville, TN, photo – Brad Hardisty

Breezy and The Rev, Exit/ In Nashville, TN, photo – Brad Hardisty

Reverend Peyton makes Nashville a regular stop. He can cross lines between the Americana, Roots, Country and blues scene which means he fits right in with the rest of us.

Rev. Peyton, Exit/In, Nashville, TN, photo – Brad Hardisty

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

Tags Alvin Youngblood Hart, Fat Possum, Jimbo Mathus, Jimbo Mathus & The Tri-State Coalition, Rev. Peyton, Reverend Peyton's Big Damn Band, The Big Damn Blues Revolution Tour

Categories Exit/In Nashville, Music, Nashville, Uncategorized

Reverend Peyton Testifies About Grimey’s and Charlie Patton

March 17, 2013 //

photo – Scott Toepfer

Somewhere in Texas, The Nashville Bridge caught up with Reverend Peyton’s Big Damn Band as they geared up for SXSW following a successful first leg of the Big Damn Blues Revolution Tour with Jimbo Mathus, purveyor off all things “Southern” and Alvin Youngblood Hart.

The latest album the Side One Dummy Records release Between The Ditches which debuted at Number One on the iTunes Blues Charts the week of its release, has caught on all over the country after 250 shows a year that has left blood, sweat and tears on stages all over North America

The first single, “Devils Look like Angels,” featured a great video and has been popular on YouTube and Blues and Americana radio.

photo – Scott Toepfer

Nashville has been a regular stop for Reverend Peyton’s Big Damn Band after finding a solid supportive crowd with their mix of Country Blues that sits somewhere between Blues, Country and the local Americana Scene. The Reverend will be stopping through Nashville March 20^{th at} Exit/ In on Nashville’s Rock Block with wife, Breezy Peyton on washboard and his cousin Aaron Persinger on drums continuing The Big Damn Blues Revolution Tour with a full entourage and possible special guests.

Reverend Peyton shared some insight about why they have been doing so well this year.

Brad Hardisty / The Nashville Bridge: Where are you guys at right now?

Reverend Peyton: We are two hours from Dallas. Texarkana, I Believe.

TNB: Well you are in the south.

RP: Yeah. We were in Little Rock, Arkansas last night and now we are heading out towards our SXSW shows.

TNB: That is coming up here pretty quick.

RP: Yeah, we just did the first leg of the Big Damn Blues Revolution Tour. It will pick back up in Nashville (Exit/In March 20^th) after SXSW.

TNB: You make Nashville a regular stop.

RP: We have. We have played a lot of different venues in Nashville. We’ve played so many of ‘em and I think Exit/In is the best one. I love that place.

TNB: I have heard a lot about you guys around town. I’m sure you’ve done the Grimey’s in-store.

photo – Scott Toepfer

RP: Oh Yeah, we’ve played a Grimey’s in-store…two or three of ‘em. I just love Mike. He’s a fan and The Basement’s really cool too! It’s an intimate place and you know Grimey’s is just such a great place. Mike is such a music fan, you know. Like, all the bands that come through there and all the people that he deals with and he’s still a fan, you know. He’s cool.

TNB: The Basement is pretty cool, that is where Justin Townes Earle used to play there all the time when he first started with The Good Life and all that. Even Metallica did a Live At Grimey’s disc at The Basement. They wanted to play Grimey’s but it was too small so they played at The Basement below the store. I was going to say, your band is at an interesting crossroads. You can play straight up blues festivals, Bonaroo and The Americana Music Festival. You are kind of in an interesting position, don’t you think?

RP: Yeah, we are looking that way. It’s kind of weird because sometimes people don’t know what to classify us as or where to put us, but, it has really been a blessing because we can play anywhere, you know. There are certain bands, like a punk band, they can play a punk rock club and that’s it, you know, or if you are even just a straight up Country Honky Tonk band you’re running that way. We can play everywhere, you know. We can play a regular rock fest and blues fest and folk fest, country fest and you name it. It is sort of funny too. A lot of people, they don’t even quite understand what kind of music it is that we play; it’s country blues, you know, that’s what it is.

TNB: I’ve got some friends out in Mississippi. I can see your sound is mostly what they would call Boogie Blues if it was coming out of Mississippi. It’s not straight up Hill Country; it’s got a little bit of Hill Country. What do you guys think where you are coming from? What are you after?

RP: Well, I just call it Country Blues. For Hill Country, there is a certain trance aspect. It’s kind of raggedy. Old Delta stuff. We are a little bit of that mixed up. I have been a student of it all since I was a little kid. I sort of have my way of playing and it kind of mixes it up all together and also, a lot of times we are playing straight up blues and blues stuff, but, the difference is nobody’s writing songs anymore. They just focus on being guitar gunslingers. You know. I want to be someone who writes song from the heart. You know what I mean. That is the most important thing.

TNB: I think that is what keeps the blues alive. Have you met “Blind Boy” Paxton?

RP: No, I don’t think I know him.

TNB: He made the cover of Living Blues Magazine. He plays old time Charlie Patton style or earlier. He’s probably the best acoustic blues musician right now, but, he won’t write anything. It’s like the music was written in a certain time period and that is where it fits. You are one of the only songwriters that I can see where, it’s like you are not copying Burnside, Kimbrough. You really are not copying anybody even though it has that aged feel. It’s your own stuff. Do you get that feeling?

photo – Scott Toepfer

RP: Here’s the deal, man. If you are not making new music then go home. Because, nobody is going to do it as good as Charlie Patton did it anyway. You know what I mean? Nobody can play Charlie Patton better than Charlie Patton. You are not going to play Son House better than Son House. So, my songs are what I am going to play, you know, otherwise you are just kind of like a museum piece, like a throwback like someone in costume that is just showing up to play a part in a movie or something. I think music should be from the heart. I’ve always believed that. That is why Muddy Waters was so good. That’s why John Fogerty is so good. The best music comes from a personal place. Some people copy things and change the names, I don’t even do that. You know, for me, that’s what it’s all about. Music that’s fresh and new but maybe it sounds like it’s old, like timeless music that’s new. I guess so, if that makes sense. It’s hard to do. Blues has been around for almost a hundred years and I’ve been playing it for you know, most of my life. It’s hard to sort of write new stuff because so much has been done, but, it’s a quest that I will be forever on; to write new songs that are timeless still. Songs that still fit in with the annals of blues going back to Charlie Patton, you know.

TNB: It’s interesting; you do go back and do Charlie Patton covers, which is way back.

photo – Scott Toepfer

RP: He is my patron saint. I did that record, Peyton on Patton because I want people to know who he is because I feel like I have a problem with the blues world. Not enough people know who Charlie Patton is. I think if you know who Charlie Patton is then you have to start with him. I think that music in general starts to get more into focus. You start to understand where people like Muddy Waters and where I am coming from. I just want to make sure people know about Charlie Patton. In his day, he was super famous you know. In his day, he was the guy. It’s sort of like he influenced Robert Johnson, Muddy Waters and Howlin’ Wolf. In his day, Charlie was the hero; He was the one they all wanted to be. He drove around in good cars; he played a Gibson Guitar with a hard case. He was the one that was truly successful, you know and the music is amazing. In my opinion, he was the best there ever was. I think the reason his playing is not that well known is because the recordings were so raw. That’s why I did that record that way. I wanted to do it his way. I kept it sort of raw. I didn’t put too much of myself into the record. Anyway, I wanted to try to use his rawness and play it the way he would play a song. I wanted to play the way he played them so people could hear his guitar pickin’. So they could have appreciation for what he was on guitar. He was just about songs you know.

TNB: You guys have been around for about four or five albums now?

RP: Yeah, we have made five records I think.

TNB: Things are really starting to pick up the last couple of years.

RP: Yeah, it has been a slow and steady ride. I think the last records have got a lot more attention it has been exponential, especially after the Charlie Patton record. People in like the traditional blues world sort of heard that one and started saying, “maybe we should have been paying attention to these fellas.”

TNB: That is kind of how it happens sometimes. What is ground zero for you guys?

RP: Well, I don’t know. We have pockets all over the place where it’s big. The West Coast is really good: lots of stuff there. It has kind of blown up in Cincinnati and, of course, southern Indiana, Burlington. Indianapolis; big time there. Kansas City has been a huge place. I think for us it has always been just one fan at a time. More word of mouth than anything else. It has been fans just coming out and telling their friends and then they buy the record and they’re spinning it. A lot of barbecuing or whatever and I think has been the secret for us.

TNB: One of the most interesting things was that I saw you played a big motorcycle rally. Was that at Sturgis?

RP: We have done Sturgis a couple of times. We did a Bike fest in Arkansas. It’s no big deal. We do a Biker fest and then we will turn around and do the Vans Warped Tour. The kids on the Warped Tour are like 13 and those kids are fun to play for! They go nuts! Then we will go and play a festival at Red Rocks in Denver, Colorado. Denver is a big town for us. It might be one of the biggest. They are such a great crowd.

TNB: They do have a good acoustic scene.

RP: That’s true.

TNB: Real quick, any new albums this year or just touring what is going to happen.

RP: I’m not sure. We will be touring on the Blues Revolution Tour which has been going strong. There are going to be festivals. We’d like to get in there and do some recording. I think it’s something I just we’ve made, kind of like, once a year for a while, so, I foresee us doing something.

TNB: Have you had any guests come up and jam on encores?

photo – Scott Toepfer

RP: Oh yeah on the Blues Revolution Tour we have been doing jams where it’s just the three of us those two guys and me then the Big Damn Band and Jimbo’s band. I think in Nashville… I don’t wanna say who…but, there is likely going to be some specials guests coming up that are Nashville locals.

TNB: When you jam, are you doing old time blues or…

RP: Yeah, we have been jamming on stuff like that and just trade it up, like, maybe one or two Jimbo songs or like some Charlie Patton stuff. Different things. It changes every night.

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

Tags Alvin Youngblood Hart, Charlie Patton, Jimbo Mathis, Reverend Peyton's Big Damn Band, Reverent Peyton, The Big Damn Blues Revolution Tour

Categories Americana Music, Blues Music, Exit/In Nashville, Uncategorized

Caddle at The Nick Birmingham Alabama

February 11, 2013 //

Caddle. The Nick, Birmingham, Alabama photo- Brad Hardisty

Caddle was set to heat up The Nick, Birmingham’s “Dirty Little Secret”, in the middle of February Last Saturday night with a new bass player and the developing interplay with newer guitarist Gary Edmonds, blazing some serious outlaw country shred on his self-built Tele.

Gary Edmonds, Caddle photo – Brad Hardisty

Caddle has seen a few changes for the better. The three long time members, Phillip Hyde on vocals along with Eric Watters on Guitar and Finney James on drums are seeing several years now in developing Caddle into a serious Hard Country Contender.

Three decades old stage, The Nick photo – Brad Hardisty

The Nick has to be the best room to hear a band, especially drums in the Southeast. The walls are held up by staples and concert posters. The sound system has seen everything from early Janes Addiction and Red Hot Chili Peppers to regional concert favorites White Animals in the early days.

Danny Everitt, The Nick photo – Brad Hardisty

Danny Everitt has been one of the main sound guys running front of house when he is not busy with any of his other projects for well over a decade. Danny without a doubt does the best front of house mixes for Rock and Roll in Birmingham. His mixes always have plenty of great rock guitar mid-range and no high end Tin Pan Alley going on.

Several bands make The Nick a regular stop in the Southeast. Especially, Atlanta bands building on their base. The Nick is known as a straight up Rock and Roll bar with no frills, although the music can be really eclectic as it was Saturday night.

DJ Chocolate, The Nick Photo – Brad Hardisty

DJ Chocolate got the party started mixing up pre- Thriller Michael Jackson with some old school seventies funk and soul before Outlaw Country was to take over the night.

Birmingham is a real melting pot of music ideas where southern rock, punk and reggae can share the same bill. There is that “it’s all good” attitude, if it is good.

photo – Brad Hardisty

The crowd for Caddle ranged from UAB hipsters, old school rockers to Bikers pulling up in Harleys all mixing together getting ready for Phillip Hyde’s delivery.

Phillip Hyde on the mic, photo – Brad Hardisty

Caddle with the addition of guitarist Gary Edmonds has gone from just plain dirty southern rock about trailer parks and meth to rev’d up hard classic country kind of like Hank Williams Jr. with a Hank III attitude.

Eric Watters on guitar photo – Brad Hardisty

Eric Watters and Gary were intertwining a lot of well thought out guitar parts creating a lot of air guitar and fist pumping in the crowd. Phillip is known for some real out-there monologues about outsiders and drinking and he was on point Saturday night.

photo – Brad Hardisty

Caddle did real well back in 2008 when they did The Billy Block Show back in 2008 at Cadillac Ranch but now the guitar playing is up several notches. True country guitarists like Brent Mason and Pete Anderson can mix it up with deft players like Eddie Van Halen and Steve Vai in their own way and now Caddle really is becoming a powerhouse country guitar outfit that could rival anything coming out of Nashville today.

Speaking of Nashville today, we all talk about how country now is either going for Bon Jovi, Fleetwood Mac, Jimmy Buffet or AC/DC. Well, this could be good timing for the Outlaw biker band from Birmingham. It may be time for a strong guitar sound that sits somewhere between The Black Crowes and Dwight Yoakum’s band to hit mainstream country radio upside the head.

It’s easy to categorize Caddle as Southern Rock, but, their sound is not looking back, Caddle is all about working class – what – is – going – on – right – now vibe. It’s a Saturday night, pull out ten bucks and have a cold one type vibe. An easy smile and cross culture crowd.

photo – Brad Hardisty

When Caddle sticks to the strength of their original material, it works extremely well.

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

Tags Caddle, DJ Chocolate, The Nick

Categories Birmingham Alabama, Music, Uncategorized

Darling Parade Releases First Single

January 31, 2013 //

Darling Parade Releases First Single from
Highly-Anticipated, Debut Full-Length
Album Battle Scars & Broken Hearts

“Ghost” Now Available on iTunes
Album Launches April 2, 2013

Nashville, Tenn. (January 30, 2013) – Nashville-based alternative buzz band Darling Parade has released “Ghost,” the first single from their upcoming full-length album Battle Scars & Broken Hearts. Darling Parade was featured on Billboard’s Next Big Sound chart, MTVu, VH1 and their music has been showcased on ABC Family’s “The Lying Game,” the CW’s “Flygirls,” Syfy’s “Stargate Universe” and Showtime’s “Shameless,” just to name a few. Battle Scars & Broken Hearts is the band’s first full-length album, following a campaign to raise money for the project on the popular funding platform Kickstarter. “Ghost” can be purchased on iTunes here: https://itunes.apple.com/us/album/ghost-single/id592314650?ls=1
Formed in early 2007 against the humble backdrop of fields and farmhouses, Darling Parade came to fruition after lead vocalist Kristin Kearns asked Nate McCoy and his previous group to play a local show in southern Illinois. She was only 15 at the time, but even then, had a way of captivating an audience. After adding drummer Casey Conrad via Craigslist and bassist Dustin McCoy, the group was complete.After a self-titled EP, and 2010’s What You Want, 2011 brought the release of the band’s 3rd EP, Until We Say It’s Over, and landed the band the #8 spot on Billboard’s Next Big Sound chart. The first single “Never Wrong” received airplay on both MTVu and VH1. It also included, “Remember,” featuring guest vocals by Anberlin frontman, Stephen Christian.

Riding on the success of Until We Say It’s Over in the spring of 2012, Darling Parade landed their first national tour with NBC’s “The Voice” winner Cassadee Pope (Hey Monday) and set out to make their mark across the country. The band quickly followed up with a national headlining tour, and then headed home to regroup.

Shortly after returning home, they knew it was time to do something they had not yet attempted—record a full-length album. Lacking the funds to embark on such an endeavor, the fans stepped up in a huge way, fully backing a Kickstarter effort to raise $16,000 to fund the recording of the new album.

Darling Parade went through several life-changing situations throughout the course of a few years, as bands do from time to time. The group, along with their long-time producer and friend, Jon King (Augustana, Throwing Gravity, 3 Pill Morning), retreated to a remote cabin in Western Ky., to clear their minds and make sense of the chaos. Out of that adversity, Battle Scars & Broken Hearts was born. Written entirely over a period of only a few weeks, it represents a snapshot in time of the band coming to terms with some of their weakest moments and finding the will to rise above them.

“The whole album has a common theme of overcoming struggle,” says Kearns.

“It’s really about realizing that no one has control over your life but you, and moving past negativity.”

The next four months were spent working day in and day out in the studio. “We really took a different approach with this album, we took the time to explore every tone, and took a lot of chances” says McCoy.

The band made huge strides forward musically as well, melding all of their influences to create a sound that’s infectious, refreshing and all their own. In-your-face guitars and relentless drumming dominate the album, while Kristin’s thunder in a bottle voice can only be described as a beautifully controlled chaos.

Partnering with King’s Nashville based label, Page 2 Music, Battle Scars & Broken Hearts will be released world-wide April 2, 2013.

Tags Darling Parade, Music

Categories Music, Nashville, Uncategorized

Bang Ok Bang Rock The High Watt

January 20, 2013 //

Bang Ok Bang, The High Watt, photo- Brad Hardisty

Friday January 18^th, The High Watt walls were rumbling to Bang Ok Bang in celebration of their new video release in support of “Always For You” off their recently released first EP revelating through a heavy groove dirge that can only be described as Trance Industrial Metal Blues.

Ben Lowry – Bang Ok Bang, The High Watt, photo – Brad Hardisty

Ben Lowry was whipping his guitars, both 6 and 7 string varieties through a Bass amp and Marshall half stack pumping the juice through the newly minted High Watt PA system, splattering bass all over the floor and rattling midrange through all the other gear sitting to the left of the stage.

Abby Hairston – Bang Ok Bang, The High Watt, photo – Brad Hardisty

Abby Hairston is probably the most passionate drummer in Nashville today. You can literally anticipate each crack, snap and UH! and determine the pace and dynamic as she throws her hair and weight all over the kit. Abby’s every crack of the stick seems determined much like Hill Country Blues drummer, Cedric Burnside.

photo – Brad Hardisty

Pulling songs from their EP such as “Chemicals Pt. 1 & 2,” and “Above The Surface,” Bang Ok Bang paced through a complete set that showed major growth and tightness since first kicking it out several months ago.

photo – Brad Hardisty

The set featured new songs that show how to take the heavy two piece into even more sonic space.

photo – Brad Hardisty

The crowd was an interesting mix of post high school, post EMO less than twenty somethings for opener ForeverandNever that was losing their bass player after this show and a crowd more akin to a singles bar for headliner BREE.

photo – Brad Hardisty

Somehow, it looked like each group of Apprecianados found something they liked in each set even though the three bands fit three distinctly different cliques and mind sets.

Abby Hairston, photo – Brad Hardisty

One of the most amazing things was how tight the two have got to matching each other in the slow down mid song breaks as well as groove changes with ease.

Bang Ok Bang, The High Watt, Nashville, TN, photo – Brad Hardisty

Bang Ok Bang may be ready for David Letterman in 2013.

The High Watt, Joe Strummer on Mens Room Door, photo – Brad Hardisty

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

Tags Abby Hairston, Bang Ok Bang, Ben Lowry, The High Watt

Categories Alabama, Alabama Music, Bang Ok Bang, Ben Lowry, Music, Rock Music, The High Watt, Uncategorized

Debbie Bond was the guest last Monday night on WRFN Radio Free Nashville’s Mando Blues Show recorded in a huge army tent at Omega Studio high on the top of a peak at an undisclosed location in the nearby Nashville wilderness.

“Some who have made their way to Music City think that it is all about country music…OH NO!!!”

The Nashville Jazz and Blues Awards started up about 4:30 in Printers Alley just a few doors down from Jimi Hendrix’s old gig with Billy Cox back in the day at The Black Poodle inside Bourbon Street Blues and Boogie Bar which boogies all week long with Blues, Jazz and plenty of fretboard sweat.

“The last thing Willie King said to me was, “Keep on pushing Debbie!” – Debbie Bond

“I slept my way to the top!” – Rory Lee Feek

Reverend Peyton’s Big Damn Band brought The Big Damn Blues Revolution Tour to Exit/In after playing SXSW last Wednesday night to an enthusiastic Nashvillian crowd along with Jimbo Mathus and opener Alvin Youngblood Hart.

Caddle was set to heat up The Nick, Birmingham’s “Dirty Little Secret”, in the middle of February Last Saturday night with a new bass player and the developing interplay with newer guitarist Gary Edmonds, blazing some serious outlaw country shred on his self-built Tele.

Friday January 18th, The High Watt walls were rumbling to Bang Ok Bang in celebration of their new video release in support of “Always For You” off their recently released first EP revelating through a heavy groove dirge that can only be described as Trance Industrial Metal Blues.

Friday January 18^th, The High Watt walls were rumbling to Bang Ok Bang in celebration of their new video release in support of “Always For You” off their recently released first EP revelating through a heavy groove dirge that can only be described as Trance Industrial Metal Blues.