Archives for posts with tag: Matt Patton

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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Dead Fingers 2014 Interview

Dead Fingers, photo Courtesy Pipe and Gun

Dead Fingers, photo Courtesy Pipe and Gun

Taylor Hollingsworth and Kate Taylor better known as Birmingham, Alabama’s Dead Fingers took a few minutes to reflect on their adventures that took about two years and resulted in their sophomore release Big Black Dog on Birmingham’s Communicating Vessels .

Taylor and Kate took a much needed break when they became first time parents and found themselves with new material at a crossroads in the music business that is affecting even smaller regional labels.

After much reflection and at a point where they felt like they were ready to get out on the road, they ended up working with Birmingham, Alabama’s Communicating Vessels which has had national success with The Great Book Of John as well as regional favorites like The Grenadines.

The album was recorded in Mississippi with Bruce Watson [Fat Possum/ Big Legal Mess] long before the release date and label decisions were made and finally released with Bruce’s blessing right in Taylor and Kate’s own backyard.

Brad Hardisty / The Nashville Bridge: I have been listening to this album and it seems to be more organized then the first release in the sense that it is not as random as the other album. Does that make sense?

Taylor Hollingsworth / Dead Fingers: Yeah, I could see that for sure, yeah. We tried to have a direction, you know, in the recording. We tried to have, like a cohesive sound.

TNB: There are more concentration on the harmonies and also more of a focus on the country sound.

TH: I decided I am just a country musician you know. I’m like psychedelic country.

TNB: It works. I liked how you put “Big Black Dog” on the front end because that was kind of like the most off-beat and different from the rest. It looks like the first push is with “Free Tonight.”

TH: Yeah.

TNB: You’ve been around for at least a decade now. As a solo artist, you were with Brash Music out of Georgia. You worked with Conor Oberst and The Mystic Valley Band . You’ve been with Big Legal Mess / Fat Possum out of Mississippi and now you are working with Communicating Vessels out of Birmingham. I guess it makes it a little bit easier to work with distribution and all of that.

TH: Not necessarily on the distribution, but it makes it easier for like, I don’t know, I thought it was making it easier until the last couple of days. No, I’m just kidding, I mean , it’s like easier when we can go to the office and actually discuss things face to face rather than by e-mail or just a phone call. I can bug them more frequently and make sure things are like getting done, I guess.

TNB: Communicating Vessels has pretty decent distribution. I remember seeing The Great Book of John and some of their other releases here in Nashville. They also concentrate on doing some vinyl, don’t they?

TH: Yeah, they are definitely doing vinyl. They are really cool people that do the label. I have really been excited about doing it. I hope that they can survive in this day and age in the music business. Obviously, it’s like a f*****n’ s**t show out there.

TNB: It’s weird. Jack White made an album that had three speeds on it to create more interest and it ended up being number 1 on Billboard. Lazaretto sold like 40,000 copies the first week. But, it’s like a piece of art.

TH: Well, he’s on a whole ‘nother plane.

TNB: When you guys tour are you going out with any other Alabama bands or just going out by yourselves?

Dead Fingers, Taylor Hollingsworth and Kate Taylor, photo courtesy Jonathan Purvis

Dead Fingers, Taylor Hollingsworth and Kate Taylor, photo courtesy Jonathan Purvis

TH: We just have this one tour booked as of right now and that’s just us by ourselves with local support in all the cities. I think that is usually good, you know, because you get local bands that help you with the draw.

TNB: Are you doing recording pretty much the way you used to, like, are you pretty much taking control of your work?

TH: This new album we did over at the Fat Possum studio at the same place as we did the first Dead Fingers album with Bruce Watson. We both kind of, you know, produced it like I come up with a lot of ideas of arrangement type stuff and instrumentation. Like adding certain things to make it sound a certain way, but I really don’t have anything to do with, like, what mic we are going to use or what stuff like that. Bruce is on top of that because I’ll just grab any kind of mic there is and just put’em on shit to record, but he knows which mic to use and to do it the proper way.

TNB: Well, he’s worked on a lot of stuff. My favorite Black Keys album was Chulahoma, the Junior Kimbrough stuff. That was awesome.

TH: Yeah man, Bruce has got his name on some cool records.

TNB: Ok, so you did it over there, was it originally going to be on his label, or?

TH: Yeah. The music business is eating them alive like he is losing money on a lot of records. He lost money on our first record. So, he was kind of thinking we would just release this record just digitally then I said there is a Birmingham label. I told him about Communicating Vessels. I was like, what if we got them to do the vinyl and you do the digital, but it kind of got to be like nobody is going to want to spend all this money on vinyl and not have the digital release so, we just decided to go with Communicating Vessels. We thought about it and they kind of offered us to do the vinyl and offered to help us with some of the core stuff. We also liked the idea of them just being down the street from us. I mean they are literally like a two minute drive so, we talked to Bruce and he was totally cool with the whole thing. I mean he was like I would love to say I could give you enough money to do all that but he just can’t.

TNB: It is kind of weird how Birmingham had evolved into where there were a lot of great bands that came out at a certain period of time. Like beitthemeans, Model Citizen, Universal Joint and your band The Spider Eaters. I can think of at least a dozen bands; Through The Sparks has made it through that whole thing. But, now Birmingham has its own label and other things going on so they can promote their own scene, which is kind of cool.

TH: Yes, it’s really cool, you know, I hope that they can expand beyond Birmingham. They certainly are trying real hard. They are goin’ through the motions. They are living and learning. They are hiring all kinds of publicists and radio people and I mean they are doing it.

TNB: Are they trying to get over to England?

TH: Yeah. They are actually hiring print over in England.

TNB: I was thinking, how say like The Drive By Truckers broke over there as well as Kings of Leon.

TH: Yeah, we went to Europe last year. On our last record, we had a European label as well as the Stateside label and we did a European tour which went over really well for us on our level. But, the label we were on, over there, went under. They lost their ass on every one of their records and now we don’t have a label over there. Labels are just going under right and left.

TNB: Jack White’s Third Man Records can sell a lot of his own records but he has recorded a lot of other people that don’t do much like even the Neil Young record he did is way down on the charts so it’s maybe selling like a couple of thousand.

TH: Bruce just told me they released the Iggy & The Stooges new album and didn’t even sell 10,000 copies. Iggy & the f*****g Stooges! That is insane and they spent a fortune on that record.

TNB: I know Infinity Cat put their label right behind the United Record Pressing plant here in town.

TH: Yeah, that is where we pressed our last record.

TNB: They have got things going on where they do limited runs on everything and they keep changing it up whether it is the type of vinyl or the sleeve. They change it up every tour because they have core buyers. They have guys that will buy three different versions of the same record to just get the different covers of a Jeff The Brotherhood release.

TH: Well the truth is the reason we are not on Bruce’s label is what really happened on the business end and that his distribution was losing so much money on all these small records that weren’t selling enough numbers and they were getting shipped back from stores. They had to change their way, so their new approach in order to distribute your record is to have you buy a package plan and it was four grand for just the cheapest package. That was just to get your record into the store and that added four grand to our cost which used to not be a cost at all. They made money per record off a percentage but now they don’t take a percentage they charge a flat fee because those records weren’t even selling enough for them to make a percentage. You know what I mean? Not making anything, losing money.

TNB: It’s kind of the trend right now that they are putting everything back on the artist. I was talking to Ryan Hurtgen [former Nashvillian in Rene Breton]of Perfect Beings and he said out there in California, the pluggers are charging the bands and you don’t know if they are out plugging your music or not. They are trying to suck the musicians dry…Hey Kate, are you there?

Kate Taylor / Dead Fingers: I’m here.

TNB: You kind of have your own thing, but it fits more with Folk Alliance or the Americana Music Festival here in Nashville for promoting, you know what I mean? I didn’t know if you were going to try to get into some of those things. The Americana Music Festival here in town is huge. People are flying in from all over the world.

TH: Is that where I played with The Dexateens last year?

TNB: You probably did. I know the Dexateens are pretty solid. I didn’t go last year.

TH: Yeah. I would love to do that.

TNB: Is the new album stuff you worked on a while back or is at all new?

TH: I don’t think we had it written during the last album but it is now like two years old though. I mean, most of the songs I wrote before our daughter was born. Kate, your songs are probably before she was born too?

Dead Fingers, photo courtesy Jonathan Purvis

Dead Fingers, photo courtesy Jonathan Purvis

Kate: Yeah, we were probably working on that album just as we just finished the tour of the first album. We had just come out from there and I was pregnant. So, when we finished the tour we just went straight back into the studio. Knowing you’re pregnant you are anticipating the lull. I mean, we obviously had to take a little time off from touring and not be able to work as much. So, even when we were on tour we went back and forth to Mississippi every other weekend while I was still pregnant and then we finished it. I think Taylor ended up going one or maybe two times after she was born. I mean she was just teeny tiny like three weeks old or something. We went back a couple of times to finish everything up. But, then there was the switching of labels and all that kind of stuff and that ended up taking much longer than we had anticipated.

TNB: So you are like ready to record again, probably?

TH: Yeah, we haven’t written any songs.

Kate: Yeah, we had the baby and stuff.

TH: I was going through my notebook last night and I realized I probably have an albums worth of stuff written. Old songs from back then.

Kate: We are just getting to the point where we can record again. You know, our daughter is getting to be not quite two actually, she will be in November. Just like little things, you know, even right now. She is usually not a night owl. We don’t have to wait until forever and ever, at bedtime she goes to bed.

Taylor: That just now started.

TNB: Life kind of changes when you got kids, that’s for sure.

Kate: So, we are just getting to a point where we can get the things out in front and start working again. Like at first, we were not writing anymore and not playing anymore.

TH: I’m about ready to start playing full time, just like locally you know.

TNB: What are you doing locally nowadays? Are doing like acoustic gigs somewhere? Or kicking it with a band?

TH: I have a cover band that I am playing with and stuff and then I work. I’ll do some acoustic gigs like, I do every second Friday at Parkside Cafe in the back bar up there. It’s like the cool bar now in Birmingham. All of our friends are hanging there. Lauren, from The Grenadines, tends bar at Parkside. It’s a bunch of cool folks. I think I am going to put together kind of like my own songs but then a bunch of country songs, cover songs that I can just play at bars to make a living. Make enough to get by without working the road. That is what I hope for.

TNB: Sounds good. It is a challenge. It’s kind of weird because it’s like when you released Tragic City, you were right on the edge of when the whole music business was goin’ down. I remember Tower Records was getting behind that album and then they went bankrupt.

TH: Yeah, they had a lot at Tower Records and like I remember it was like in Best Buy and shit like that. It was really getting pushed out there, but it was all right there at the end. I didn’t have a business minded head on my shoulder whatsoever anyway.

TNB: You were pushing everything at 100%.

TH: I just didn’t have the team behind me.

TNB: I definitely promote Birmingham when I get the chance.

TH: Yeah, I know you do.

TNB: Dude, good to hear that you guys are still pressing on. I was going to tell you that one of the highlights for me in Birmingham, probably 2006. You were playing with the Spider Eaters and Matt Patton from Model Citizen…

TH: Oh yeah Matt.

TNB: Yeah, he got up on stage and you guys did Ramones’ “Commando.” That was cool. It was good talking to you. Wish you the best man.

Taylor: Alright man, always good to talk to you.

Kate: Thank you so much.

Dead Fingers, photo courtesy Pipe and Gun

Dead Fingers, photo courtesy Pipe and Gun

–          Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom