Showing posts with label Tom Petty. Show all posts
Showing posts with label Tom Petty. Show all posts

Nov 16, 2023

A Poignant, Bittersweet Coda: Tom Petty’s Final Farewell

By Kevin Broughton

 

While it’s difficult to believe, last month marked the sixth anniversary of the passing of Tom Petty. If there’s a Kubler-Ross subset of the stages of grief for great artists, one step is the crushing knowledge that his catalog is now finite. And of course, there’s the garden-variety heartache that accompanies the death of the front man of arguably the greatest American rock band. 

 

But with a cinematic time capsule, Tom Petty: Somewhere You Feel Free – The Making of Wildflowers, fans of the Heartbreakers get a final look back. It’s not new – there was a limited theatrical release in 2021 – but will now enjoy wide viewership thanks to Amazon Prime. 

 

Directed by Mary Wharton and Anne Ethridge, it relies heavily on a tranche of old footage someone discovered in the early 2000s – a video diary of the making of what Petty considered his best work, shot from 1993-1995 and never seen before. There’s a surreal aspect that makes the film all the more haunting: Intermixed with scenes of the album’s production – Tom was in his early 40s and had a little more than 20 years to live – are present day interviews with Heartbreakers Benmont Tench and Mike Campbell, along with Rick Rubin, the producer Petty settled on reluctantly. It’s counterintuitive to hear Petty say at the time, “You know, Rick was a lot younger than all of us,” then cut to a scene of the silver-bearded uber mensch producer reflecting on work now three decades old. 

 

The Wildflowers album – not a Heartbreakers record – came at a time of transition for Petty, whose marriage was falling apart, and the band. The rhythm section underwent a 100 percent turnover. Drummer Stan Lynch, seemingly always mercurial and contrarian, was underwhelmed with the Wildflowers demos and moved on. The last cut he ever played with the band was “Mary Jane’s Last Dance,” and that wasn’t even a part of those sessions. Petty needed two more cuts for a greatest hits album he owed the suits to get out of his deal with MCA. 

 

Bassist Ron Blair – burned out by the rock ‘n’ roll lifestyle – punched out to open a lingerie shop. Petty poached Howie Epstein from Del Shannon, who would put in ten great years before succumbing to heroin. His presence on screen evokes another heartache. 


 

New drummer Steve Farrone, who would be a Heartbreaker to the end, tells the wonderful story of his top-secret audition. He had no idea what was going on, “Then I walked in and saw Tom Petty and Mike Campbell in the control room, and said, ‘Ooooooooh.’”

 

Footage of the composing/arranging/recording is bittersweet; seeing the chemistry, the artistry – the love – it’s so beautiful and touching. But the knowledge that you’ll never see it again will leave a hole in your heart. A constant back-and-forth during the process was whether to make Wildflowers a double album. That was ultimately decided in the negative, and Petty spent three agonizing months just whittling and sequencing the final 15 songs that make up the hour-and-six-minute record. But the scrawny kid from Gainesville was rewarded with a posthumous triumph in 2020, when the mammoth, 54-track Wildflowers & All The Rest was released. 

 

Rest easy, Tom. You’re missed. 

 

 

Feb 11, 2022

Nothin’ Worth Believin’ Past the Cleveland County Line: A Conversation with Jason Scott


By Kevin Broughton
 

Caught halfway between amplified Americana and heartland roots-rock, Jason Scott & the High Heat create a sweeping, dynamic sound that reaches far beyond the traditions of their Oklahoma City home. Too loud for folk music and too textured for Red Dirt, this is the sound of a genuine band rooted in groove, grit, and its own singular spirit, led by a songwriter whose unique past — a Pentecostal upbringing and years logged as a preacher-in-training — has instilled both a storyteller's delivery and a unique perspective about life, love, and listlessness in the modern world. 

 

While his bandmates — Gabriel Mor (guitar), Taylor Johnson (guitar, keys), Alberto Roubert (drums), and Ryan Magnani (bass) — grew up listening to popular music, Jason's childhood was shaped by the sounds of Sunday morning church service. He sang in the choir and eventually learned to lead his own congregations, often turning to music to get his messages across. 

 

A multi-instrumentalist, producer, engineer, and session musician, Scott launched his solo career with 2017's Living Rooms. The 5-song debut EP introduced him as a folksinger with a knack for "fun little earworms" (NPR), and he spent the following year balancing his time between the road and the studio, where he produced albums for Americana artists like Carter Sampson, Ken Pomeroy, and Nellie Clay. Things began to expand as he assembled the High Heat, a band of multi-faceted musicians and roots-rock Renaissance men who, like their frontman, juggled multiple artistic pursuits. Together, Jason Scott & the High Heat have since become a self-contained creative collective whose talents include songwriting, music production, photography, video direction, and more. 


Castle Rock marks Jason Scott & the High Heat's full-length debut. "Quittin’ Time" makes room for a dual-guitar attack, a barroom piano solo, and a storyline about a hardworking man's fruitless attempts to escape his limited horizons, while "Cleveland County Line" flips the script, delivering a narrative about a prodigal son bound for home after a dark spiral of Kerouac-worthy travels. Lead single "Suffering Eyes" — with its twinkling keyboards, chugging power chords, and cascading guitar arpeggios — is heartland rock at its modern-day peak, as panoramic as the Oklahoma plains themselves. 


This album will remind you of a lot of your favorite artists, yet every song is original. Jason Scott may be a man of few words, but his music has a lot to say.

 

You hail from Oklahoma City, but this isn’t a red-dirt record; I hear more Tom Petty & John Prine than Ragweed or Turnpike, for instance. Can you share who some of your eclectic range of influences are?

 

Sure, yeah. Well, those two for sure, Tom Petty and John Prine. I like James Taylor a lot. I like songwriters: Guy Clark, Townes, stuff like that. And just about everything in between, really. Hip-hop…Kendrick Lamar. I’ve got a bunch of old Dean Martin Christmas records, too, so I like a little bit of everything. 

 

You’ve been producing records for a while. How did that help with the efficiency of the recording process, and implementing your vision for this album?

 

I actually went to school for some “studio stuff” at ACM here in Oklahoma City. I’ve just been in and out of studios for the last 15 or so years of my life, and several of the guys in my band are in that environment, too. Taylor Johnson, who plays guitar for us, is an incredible engineer and producer. So yeah, having a team around you like that certainly helps in the start you get from start to finish, that’s for sure. 

 

An interesting nugget from your bio: You grew up in a Pentecostal household and were actually training to be a pastor before dealing with – and I’m quoting here – “a crisis of faith.” Expound on that a little; how has it affected your writing, and familial relationships, for that matter? 

 

I definitely had an “I’m Leaving” moment, and that put some distances in some friendships and relationships for sure. Most of the ones who count are still people in my life. But going back to songwriting, you know, the Bible is full of good stories, so being a Pentecostal certainly influenced me in my writing. 

 

When I heard the tag line, “Ain’t nobody gonna roll the stone away” in “The Stone,” it initially conjured images of the first Easter. But that’s a song about a veteran and his wife coping with PTSD. Tell us how that song came about.

 

For a while, I’ve been startled with the amount of suicides in the veterans’ community. It’s not a song about a specific couple, but it’s something a lot of households have dealt with the last couple decades. And to be honest, those numbers haven’t improved that much. And I think I just wanted to say something about it; I mean the song doesn’t really offer any solutions, just more of an “it is what it is” situation. I have some friends and family who are veterans, too, so that influenced the song or at least wanting to make the song. 

 

I’m a sucker for pretty harmony. Who’s the lady with the voice?

 

I have a couple of girl friends on the record. Abbey Philbrick has a band here in Oklahoma City – and they’re just amazing. And then Carter Sampson is a long-time buddy – I actually helped produce some of her records, way back – and she’s on “Castle Rock” and “A Little Good Music.” There are a lot of great girl artists here in Oklahoma City. 

 

You just led me right into my next questions. “A Little Good Music,” may be my favorite cut. It’s full of good advice; what was its inspiration?

 

Uhhhh…my wife. (Chuckles) We have two kids, and sometimes life…well, it’s easy to get stressed out. I don’t know if there was a specific moment that inspired it, just the last nine years generally. 


 

Tell me about the preacher raining down fire at the beginning of “Sleepin’ Easy,” and how they’re tied together. And I’m wondering if this is the first time Ambien has gotten a shout-out in a country song?

 

Hmmm. I don’t know. There’s probably something out there about it. But “Sleepin’ Easy,” too, incorporates being a parent and stressing out. Being a parent in today’s climate – politically, economically, all of that – is part of the stress in that song: Just trying to keep your head above water, and everybody seeming to need something from you. And [including the pastor at the beginning] wasn’t meant to be a slight, more an acknowledgment that if you go to church, you have to pay to attend, in most places. 

 

That final cut on the album is where we hear the phrase “Castle Rock,” which I understand is somewhere you lived upon taking your leave of the church. Care to explain? 

 

Yeah. My mom & dad split up when I was about 12, and I went to live with my mom in Castle Rock. And without going into too much detail, it was a crazy time in life for me and my two younger sisters. And I basically got to do whatever I wanted; there was definitely less focus and attention on the kids. For the first time in my life, I was doing stuff outside of a church building. Castle Rock was a time of change of me, so it was important to include some of those experiences in this group of songs. 

 

With as crazy as the past couple years have been, have y’all had a chance to road-test any of these songs, and are there plans for a tour after the release?

 

Yeah, we’re in discussions with a pretty well-known booking agency right now, and we’ve got shows starting in February. And we’ve absolutely played these songs live and gotten miles out of them in many different places. But hopefully we’ll be able to add a bunch more dates really soon, and I’m definitely excited for that. 

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 Castle Rock is out today!

 

Oct 9, 2020

Album Review / Great Peacock / Forever Worse Better


 By Matthew Martin


On Great Peacock's third outing, Forever Worse Better, they have finally created what they've been looking to create for the past few years. This is revitalized Heartland Rock. The band is tighter on this release. Everything seems to be in sync, making for a hell of an album.


The album is a much more personal effort for Andrew Nelson who has described some of the self-doubt and relationship failures that were the muses for some of the better songs on the album (and the best of GP's career). With songs like, "Heavy Load" and "All I Ever Do" there is a clear growth in songwriting both lyrically and musically. It takes a lot to be able to put to words the emotions that come with those feelings and relationships that just always seem to be pulling us down. 


But nowhere on the album is the clear growth of Great Peacock more evident as "High Wind." This is the standout song on the album for me, and quite frankly, I think this is the best song of their catalog (subject to change). From the opening kickstart of the drums to the chugging of the guitars, musically this song is a barnburner. I hear it and immediately feel like I'm hearing my favorite Petty song but not a cheap imitation. And the lyrics are a perfect encapsulation of the album. On this singular song, Andrew laments not only his aging but also his relationship problems. But, there's hope in the song. You know we all have these problems, but the most important part is doing the most while you can. Live it up. In these weird, covid fever dream times, it's a song that feels so pertinent.





The album is full of these songs- "Rock of Ages" and "Learning to Say Goodbye" are beautiful, meaningful, and triumphant. These songs are a testament to the band and their ability to have taken these songs out on the road and truly fine-tune their sound. The soft songs are sonically textured in a great way. The rockers are there. And, the intertwining of Andrew and Blount Floyd's guitars and voices is something to behold. Frank Keith's basslines are tight and keep everything together. This is a group hitting their stride, finding their voice as a band, and hopefully they have a lot more left in them.


Go buy the album and support Great Peacock any way you can.


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Forever Worse Better is available today on Bandcamp, Amazon Music, etc. 


May 31, 2019

On Poem, Jeremy Squires Has Finally Found His Sound

By Robert Dean

Jeremy Squires never disappoints. One of the better voices creeping out from the backroads of North Carolina, Squires is back with his new record, Poem. And once again, it’s a slow-burn stunner that reminds listeners of backyard bonfires, and tall tales told over tall boys of PBR in quiet confidence. 

Poem is moody and takes what’s considered “Americana” by its ear and dares us to explore what works within the confines of genre. Much like how Lucero dove on Among the Ghosts and Jason Isbell did with The Nashville Sound. What works about Poem is that it feels like Squires set aside what he couldn’t do, but instead, focused on what was possible by testing what he was capable in the studio. 

Poem is dreamy with haunting guitars that aim more towards My Bloody Valentine or Radiohead than what Squires country-inspired contemporaries are focused on and it’s imprinted all over the record. "Stargazer" and "A Calm Around" aren’t bangers but float through the collection of tunes in a haze, which is perfect considering the vibe of the record overall.


It’s also refreshing to hear songs that that feel earnest instead of trying to catch a wave or appeal to an audience that might not exist. On Poem, Squires has found much more of himself than on his previous releases, which were also solid, but this time around, this batch isn’t as self-serving, this is a man comfortable in his own skin, but also satisfied with what he does. For a lot of us, we’re always chasing that dragon that might never land, and we could all be so lucky to finally our moment as Squires has. 

The back half of the record is decidedly more country but holds its presence nonetheless. If anything, the second half sounds a little more Tom Petty country than it does hard Nashville. 

One thing to definitely take note of is the record’s cover. Whoever did it rules. It’s got this metal well of skulls thing going on. Super cool. Thank you for not wistfully staring out at the sunset or body of water, Jeremy. 

Poem doesn’t go overboard, and no track overturns the applecart, but instead, the songs are dreary, rainy day bummers, which will forever have their places as long as people get sad and need someone else to feel their pain. 

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Poem is available on Jeremy’s Bandcamp page and most everywhere you consume fine music.


Apr 18, 2019

Rod Melancon: The Farce the Music Interview

Photos by Barry Grimes
Interview by Kasey Anderson


You were born in Louisiana and the culture and sound of the bayou comes through clearly throughout Pinkville, but you spent a few years in Los Angeles, specifically around the Grand Ole Echo scene, which is still an under-the-radar scene compared to Nashville or Austin. How did big a role did Los Angeles, and that specific scene, play in your development as a writer and artist?


Los Angeles played a major role being that I had already moved there when I started fooling with songwriting. I was 19 when I first started trying to structure my own songs. I remember around age 21 putting the guitar down. It would be a year or so before I’d get back into it. Around age 24, I got introduced to the Grand Ole Echo scene.  Ben Reddell started a label and funded/released my first record Parish Lines. I was big into the folks that hung around there. Dan Janisch, Bob Woodruff, Rick Shea and David Serby. These guys were 20 to 25 years older than me but they sort of took me under their wing. I looked up to them and I still do. Check out Bob Woodruff’s Dreams and Saturday Nights. It’s a great record that was released in the mid-90s through Asylum. Dan Janisch was and still is one of my favorite songwriters in L.A. “Cannot Settle Down”, “I Dream of You” and “Everybody Gots Somebody They Used to Love” are stone cold classics. I believe Mike Stinson still covers Dan’s songs. The Cinema Bar in Culver City was my favorite hang. Julie Richmond and Kim Grant guided me into the scene there. I’ll always have a special place for L.A. It gave me my start and awoke something in me I never knew was there.


Cinema Bar's a cool place. Didn't some legendary Lucinda Williams show take place there? I don't know if I have that right. And the Echo was a really cool scene, still is. I know you've talked about seeing Phoebe Bridgers there early on in her career, when you and I first met you said you'd seen me play the Echo years before. A lot of the folks who started out there strayed a little further from Americana into, I dunno, whatever other made-up genre you want to use to classify them.


Your sound, though, and especially the sound of Pinkville, doesn't immediately bring to mind Los Angeles. These are dark songs, and you and Adrian Quesada did a great job on this record of framing your voice really nicely. How did you connect with Adrian and Will Walden, and when you started writing the songs for this record, did you have that kind of darkness in mind?


I met Will through the music scene in Echo Park around 4 or 5 years ago. He used to do sound at the Silver Lake Lounge. He was only 21 years old. We’ve been playing together for over three years now. It’s funny to think about that all these years later. He’s been on every tour I’ve done. He’s my right hand man. Interesting fact: His dad is renowned tv composer Snuffy Walden. Snuffy composed and won an Emmy for The West Wing. My favorite of his is The Wonder Years score. Will inherited that trait. A few years ago I was talking to him about what I envisioned as a record intro. “Picture a platoon cautiously walking through the humid jungles of Vietnam.” He came up with the riff on the spot. That riff would eventually become the opening track of Pinkville. I connected to Adrian Quesada through Mary Jurey at Blue Elan. It’s funny because he told me recently that at first he didn’t think he was the guy to produce me. He said he thought I was more of a country/Americana artist. After I described my vision to him he changed his mind.  After the last record, I told myself I’d lighten up on the dark subject matter but in the end I created something even darker than the last. I guess it’s just who I am. I gravitate more towards those kind of characters. I read In Cold Blood at a very young age. I guess it stuck.


I read In Cold Blood pretty young, too. That one and Tim O'Brien's The Things They Carried both come to mind throughout Pinkville. How much do you draw from outside material - books, films, news, whatever? Everything around us has a way of informing what we write but how often does something you've read or seen jump out at you to the point where you chase it down until it becomes a song? What's that process like for you?


Yeah, I read The Things They Carried right before I started working on Pinkville. I loved the mixture of brutality and tenderness. That last chapter really got me. The opening track of Pinkville was something I experienced at a young age. It stuck with me and eventually I was able to put that story in to a song. My writing process on this record was different because I pulled a lot of things from my personal life. Rehabilitation, Pinkville, Manic Depression. I am the narrator in those songs. That is something I usually wasn’t comfortable with but with age and experience it came naturally. I am inspired by lots of things. Personal experiences, books, films. Some things just come out of nowhere. Cobra came out of nowhere. I wrote the lyrics late one night. Those are the most mysterious and interesting ones to me.  No explanation on why I did it or where it came from.


There's a very plainspoken approach to some of that autobiographical material. Which isn't to say there aren't great turns of phrase or really beautiful lines it's just that a lot of it is matter-of-fact. "Rehabilitation" sticks out to me as really just a recounting of the day-to-day of rehab. It's not bereft of redemption but that's not really the point of the song. It's a kind of dirt-under-the-fingernails recounting of your experience. Was that the intent? To de-romanticize and de-stigmatize rehab by laying the process out so plainly?


Exactly. Rehab is the same schedule over and over for weeks. The rhythm and groove stays the same. Though there is the occasional “oh lawd” moment. A patient escapes, a patient gets pregnant. A few months after I was out a close friend I met there overdosed. I remember during a session, they asked me to play a song. I played “Feathers.” After, he came up to me and asked me about that song. “How in the hell did you come up with that?”  Three months later he was dead. “I can still see his face when they broke down the door....”


It's sort of the same way with "The Heartbreakers". Was that another instance of trying to humanize something that seems much larger than life?


Totally. I envisioned it as a Tom Petty origin story. Will started playing the riff on tour a few years ago. It was before Tom died. After he passed away I knew I had to finish the lyrics. I relate with his story because we both grew up in the swampy Deep South. We both moved to Hollywood at a young age. Not trying to sound like Robert Ford in The Assassination of Jesse James but I related with his story a lot. It felt like the right thing to do and it’s nice seeing folks react so positively to it.



The reach of those songs and that band is just immense, so it was nice to see you distill it back down to its origins. Do you feel like that dream they were chasing still exists? When you moved from LA back to Texas, did you feel like you'd done what you could in LA and needed a change? What took you to Austin?


I’m not sure if that rock n roll dream still exists. I’m sure some form of it does. I got signed in L.A. so that’s proof that’s it not completely dead yet. Every time we’d tour through Austin it was always amazing. Saturday nights at The White Horse. Making more money in one night than I ever did in L.A. The bands and songwriters are great. It’s also a genreless city. Folks would ask if I was worried about being surrounded by so many great bands. Honestly, I WANT to be surrounded by great bands. It’s inspiring. Folks that treat music as a competition are high. Townes did his thing here and so did Roky Erickson. Best of both worlds. Niels from Blue Elan had been telling me I should make the move. He said check back in with me in two years and let me know if you made the right decision. It took me less than a year to realize I had.


It's a special place, for sure. Portland took its little slogan, Keep Portland Weird, from Austin. The whole "Keep it Weird" thing started there in Austin as a call for folks to support local businesses and was then adopted by a few other cities, Portland among them.


You've been public about your sobriety -- obviously "Rehabilitation" references that -- and about mental health issues. How have sobriety and treatment changed the way you write and perform, if at all. Do you approach songwriting differently than you did before you got sober?


I’m much more focused now that I’m sober. Nothing to cloud my brain or throw me off course. My personal life settled down so I was able to focus on songwriting and my career. It helped me mature and my responsibility level went up. Folks ask how do I stay sober playing in bars and venues. Honestly that keeps me sober. Nothing against folks that drink but it caused a lot of unnecessary pain in my life. No one to blame but myself. The guilt is still there. I feel bad for the way I treated people that cared for me. That guilt will probably never leave but I’m thankful I can wake up knowing I have no one to apologize to and I can remember everything from the night before. Hell of a thing.



Hell of a thing indeed. Tom Waits, who you cover on Pinkville, is a sober guy and when asked about sobriety affecting his songwriting process, he said, "One is never completely certain when you drink and do drugs whether the spirits that are moving through you are the spirits from the bottle or your own. And, at a certain point, you become afraid of the answer. That's one of the biggest things that keeps people from getting sober, they're afraid to find out that it was the liquor talking all along." I've always really liked that quote. If you know how to do it, you know how to do it. It seems like Waits is a pretty big touchstone for you, creatively. What drew you to his songs and, specifically, to "Goin' Out West"?


I love the theater and monologues of Tom Waits. He’s a visual artist and really paints the scene. I gravitated to Goin Out West because of the subject matter. A brute of a man is pitching himself to Hollywood. The traits he brags about are mostly criminal but at least he looks good without a shirt. Y’all get that dude an agent! I related with it because I too moved to Hollywood with hopes of being in the moving pictures. I was in a handful of really bad films. “I ain’t no extra I’m a leading man.”


Part of that song too, though, is the folly of the narrator thinking that what the people "out West" want is a renegade, an outlaw, when what they really want is a soft, beautiful face upon which to project the image of an outlaw. The juxtaposition of real danger and the illusion of danger is really at the heart of Waits's thing, I think. And we see that not just in Hollywood but in this idea of Outlaw Country, a sub-genre of a sub-genre of music that, I guess, both you and I play. People love the idea of an outlaw - they love the outlaw image and the iconography that does along with it - but when somebody actually steps up and speaks their mind, be it about the president or how under-represented female artists are on country radio, or whatever, people get uncomfortable. That's kind of a bizarre thing to me. The flipside of that is we now have this glut of artists who work very hard to present a very calculated representation of the outlaw image they believe people want to see. It's nothing new in music or film, or life even, but it seems to be prevalent again, this idea of the outlaw persona. You seem to have found a label and a team that don't try to push that on you, or push your songs into that categorization. Is that a boundary you set with the label?


I agree 100 percent on that. The label has been great about me doing my thing when it comes to the music part since the beginning. I’m very thankful for that after hearing so many label horror stories. Folks love playing dress up. A doctored up “outlaw” bio or trying to appear a certain way. One of my favorite Sturgill lines is “The most outlaw thing that I ever did was give a good woman a ring.” I’m far from an “outlaw.” Maybe outlaw in the fact that I make records my own way. Though I still enjoy playing Xbox and hold a large amount of Middle Earth knowledge. Some of these folks would never want to appear “nerdy” or admit that they enjoy these things. One of my favorite spots in Austin is I Heart Video. Tons of VHS tapes and film memorabilia. I’m also much more comfortable in a pair of Nike Cortez than cowboy boots. Sure I’ve had a few run ins with the law but I’m more embarrassed by that than proud.


To me it's always, if the songs are good, I don't care much about how they're presented or marketed. That said, you do seem to have a pretty good hold on how to be engaging on Twitter and Instagram without being panderous or persistently self-promotional. Is that a hard balance to strike for you? How do you strike that balance?

Thankfully as far as that goes I’ve been able to just be myself. The older I got the less I cared about my “online” image. That’s when I noticed folks started paying attention. Most people can tell when someone isn’t being authentic. Authenticity always shines through in the end. Whether it’s through song or social media. I enjoy that side of it. I’m surprised when folks react to things that I post. The world has a better sense of humor than I originally thought.


I think that authenticity comes across.


The record's out, you're going to Scandinavia again soon on tour, and I imagine you'll be busy this summer. Pinkville is more or less going to be your life for the next 18 months or so. Does that take a toll on you? Do you hit a point where you're ready for the next thing or have you adjusted to the timing of the album cycle at this point?


This time it was different because I felt like it was the most well prepared release yet. The team was all set, the artwork was there and a Europe and US tour was booked. I’m already seeing the difference that makes. It takes a big load off of me. I enjoy being on the road. I’ve got a great new booking agent now through Atomic. His name is Jimmy Dasher. How can you go wrong when that’s your agent’s name? I’ve done a lot of questionable tours. 4 great shows and 15 bad shows was usually the case. Though this all builds character. You have to go through this. It’s the hustle. Folks want immediate fame through reality tv music competitions. Even if you win, you are usually forgotten within a few weeks. Careers are earned on the road. Whether you are playing to 5 people or 50 people, it’s the necessary path and what it takes to build a foundation. Cue Bob Seger’s “Turn the Page”.

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Pinkville is out now!

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