Archives for posts with tag: East Nashville

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

courtesy Brad Hardisty Private Collection

courtesy Brad Hardisty Private Collection

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

*many hyperlinks go back to vinyl videos*

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Post Sex Pistols, Courtesy Brad Hardisty Private Collection

Post Sex Pistols, Courtesy Brad Hardisty Private Collection

Post Sex Pistols, Brad Hardisty Private Collection

Post Sex Pistols, Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

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

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

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

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

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

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

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

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

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

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

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

Courtesy Brad Hardisty Record Collection

Courtesy Brad Hardisty Record Collection

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

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

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

Apple Records from Portugal, Courtesy Brad Hardisty Collecton

Apple Records from Portugal, Courtesy Brad Hardisty Collecton

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Collection

Courtesy Brad Hardisty Collection

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

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

Courtesy Brad Hardisty Private Collection

Courtesy Brad Hardisty Private Collection

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

debbie bond cotton blossom bandDual Blues Album Release Concert at 5 points with Nashville’s Cotton Blossom Band & Alabama’s Debbie Bond and the Trudats.

Nashville Fringe Festival, Mando Blues Concerts and Yazoo Brewery are pleased to
present two Mando Blues Radio Show veterans to the East Nashville venue at 5 points, PERFORMING ARTIST CO-OP, also known as The Building on Saturday, February 1st at 8pm.

Nashville’s own Cotton Blossom Band (Mike Doster, Tony Gerber,Mason Stevens & Roy “Futureman” Wooten) and Alabama blues with Debbie Bond and the Trudats including her musical partner and husband, Rick Asherson. Both groups have a new recording to release for 2014 and will give the audience a live version of these releases in east Nashville. The new CDs will also be available to purchase at this concert.

Debbie Bond, photo - Brad Hardisty

Debbie Bond, photo – Brad Hardisty

Debbie Bond’s latest album That Thing Called Love was recorded Live during a taping for The Mando Blues Show that originally aired on Radio Free Nashville.

COTTON BLOSSOM BAND

debbie bond cbb_soulshiningcdcov_med_hr-2Cotton Blossom Band is the realization of Nashville’s multi-instrumentalist, composer, producer andcreative director, Tony Gerber, joining forces with his old friend and space music co-pilot, Mason Stevens on Diddly Bo and guitars. In 2010, Gerber and Stevens started creating some new musical material and interpreting some traditional delta blues in their space music flavors to create a kind of delta space blues.

Being very inspired by this unique blues sound, Gerber called on his old friend and BB King’s bass player of 17 years, award winning Michael Doster. After doing a couple shows as a trio, the last version of the CBB included the legendary 5 time grammy winner, Roy “Futureman” Wooten on percussion, cajon and drum. They are pleased to present this new release, “Soulshining” as this musical blues quartet.

DEBBIE BOND and the TRUDATS

debbie bond that thing called loveGuitar player, singer and songwriter Debbie Bond made the blues her calling when she was drawn to Alabama over three decades ago and worked with, most notably, Johnny Shines, Jerry “Boogie” McCain, James Peterson, Eddie Kirkland, Sam Lay, Little Jimmy Reed and Willie King. Debbie continues to be an elder statesman of the Alabama blues scene after co- founding the Alabama Blues Project and releasing two albums, What Goes Around Comes Around and Hearts Are Wild.

Rick Asherson grew up in England as a classically trained musician and stumbled onto Willie King while searching for personal growth and the root of the blues. Rick and Debbie were introduced to each other by Willie King which turned into both a professional and personal relationship for both of them. Rick is a multi-instrumentalist/vocalist that is comfortable juggling two instruments at once.

Tomato Art fest Midway 2013, photo - Brad Hardisty

Tomato Art fest Midway 2013, photo – Brad Hardisty

Founded in 2004 by Meg and Bret MacFadyen, owners of East Nashville’s Art and Invention Gallery, The Tomato Art Fest is now part of an established trio of festivals that has come to define Nashville, for locals, rather than the huge tourist CMA Festival and Bonnaroo.

Live Music on Fanny's House of Music Porch, 2013 Tomato Art Fest, East Nashville, photo- Brad Hardisty

Live Music on Fanny’s House of Music Porch, 2013 Tomato Art Fest, East Nashville, photo- Brad Hardisty

To get an idea of how big this one had become, The Tomato Art Fest was voted “Best Festival” in the 2007, 2008, and 2009, 2010, 2011, 2012 in the Nashville Scene Reader’s Polls. The Tomato Art Fest has come to define and be a showplace for the center of East Nashville’s Five Points area.

Five Points has a convenient outdoor venue that is nothing more than a grass covered lot that can hold about 1500 people about 25 steps away from Fanny’s House Of Music / I Dream Of Weenie and this year housed a great main stage sponsored by First Tennessee Bank while a small second stage brought in one of the ‘last men standing’ of original Mississippi Blues, L.C. Ulmer this year.

Fanny's House of Music, Main Stage, Tomato Art Fest 2013, photo - Brad Hardisty

Fanny’s House of Music, Main Stage, Tomato Art Fest 2013, photo – Brad Hardisty

Craft fair style booths that featured everything from artwork to fresh grown tomatoes drew fans in droves all day long until events started to taper off about 5Pm when the food trucks shut down and the booths were quickly cleared from the road.

Head Over Heels, 2013 Tomato Art Fest, photo- Brad Hardisty

Head Over Heels, 2013 Tomato Art Fest, photo- Brad Hardisty

The  nightlife crowd crept over to The Pied Piper Creamery  for some Orange Tomato Cinnamon Sorbet or one of the local pubs as the late afternoon saw music cranking up at the main stage when  Fanny’s House of Music Youth Artists: Girls Sing/Head Over Heels launched into the mega Go-Go’s hit, “Our Lips Are Sealed.”

Thurston Ford, Bear Cub, 2013 Tomato Art Fest, photo - Brad Hardisty

Thurston Ford, Bear Cub, 2013 Tomato Art Fest, photo – Brad Hardisty

Jesse Hall, Bear Cub, 2013 Tomatoo Art Fest, photo - Brad Hardisty

Jesse Hall, Bear Cub, 2013 Tomatoo Art Fest, photo – Brad Hardisty

Bear  Cub  featuring the songs of Jesse Hall and the guitar pyrotechnics of Ford Thurston played several songs off of their recent release Good Morning, Every Morning. Bear Cub came off more aggressive live with their more pop oriented Beatles / Big Star / Arcade Fire influenced music sounded more “in your face” than the album with more fire power and a cover of “Helter Skelter” that was more Paul McCartney than Motley Crue played with finesse and musical depth.

The Young International, 2013 Tomato Art Fest, 2013, photo - Brad Hardisty

The Young International, 2013 Tomato Art Fest, 2013, photo – Brad Hardisty

The Young International take the Mutemath meets Coldplay path with some good original tunes and a strong four piece band. They took in the face with the sun setting in the West. The only thing to do was wear cool shades.

Dave Pahanish, Panfish, 2013 Tomato Art Fest, photo - Brad Hardisty

Dave Pahanish, Panfish, 2013 Tomato Art Fest, photo – Brad Hardisty

Dave Pahanish, phenomenal songwriter who has written hit songs for Jimmy Wayne, “Do You Believe Me Now” and “I Will” as well as for Keith Urban who recorded “Without You” is a great front man and bandleader as well.  Dave is also the local host at East Nashville hang-out venue, The Building, known as a second home for cast and crew of the Nashville TV show after all day shoots brought his latest incarnation of Panfish to close out the Tomato Art Fest.

Panfish, 2013 Tomato Art Fest, photo - Brad Hardisty

Panfish, 2013 Tomato Art Fest, photo – Brad Hardisty

Panfish is a four member powerhouse that translates well as an almost all acoustic except for electric bass (Let go of the electric Bass and get an upright) power jam act that crosses between a modern Country hit songwriter’s showcase and an opener for the Zac Brown Band that would fit well with the current Southern Ground travelling circus.

Panfish, 2013 Tomato Art Fest, photo - Brad Hardisty

Panfish, 2013 Tomato Art Fest, photo – Brad Hardisty

The mildest summer on record made for a great turnout and a most excellent vibe.

Bear Cub, backstage at 2013 Tomato Art Fest, photo - Brad Hardisty

Bear Cub, backstage at 2013 Tomato Art Fest, photo – Brad Hardisty

Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

 

 

charles butlerVery Entertaining Records Artist Charles Butler took his banjo for a ride on Daft Punk’s “ Get Lucky” a few days ago and posted it to YouTube on May 25th and after a few links by random bloggers, Huffington Post took notice and now the East Nashville banjo style version is nearing a million hits.

Charles Butler posted May 27th on YouTube, “A heartfelt thanks to everyone who left words of encouragement! And thank you to Daft Punk. Random Access Memories is amazing, go get it. I am going to cut a new version of this to offer as a free download, and produce some banjo tab for those who are interested, probably within a week or so.”

There are now videos of people watching his version on YouTube.

Very Entertaining Records Bill Davis is excited about the light being shined on his label mate and friend.

How far can this go? How about a kickstarter campaign to press a back to back 7 inch of “Get Lucky” by Daft Punk and Charles Butler? For information on Charles Butler and Very Entertaining Records contact info@veryentertaingrecords.com.

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

Charles Butler photo courtesy Very Entertaining Records