Showing posts with label Jason Eady. Show all posts
Showing posts with label Jason Eady. Show all posts

Jun 23, 2017

Reckless Fulkin' Rose: Kevin's Interview Playlist

Kevin has interviewed a lot of cool people since he started with us a couple of years ago. He's also reviewed a few live events and albums and angered a few people along the way, ha. Here's a sampling of his work and a playlist of the "Best of" his interviews and reviews that he put together. Give it a listen!

Interviews:
Zephania OHora

Willy Braun of Reckless Kelly

Kelly Hogan of The Flat Five

Robbie Fulks

Chelle Rose

Brent Cobb

Kasey Anderson

Jason Eady

Album Review: Jason Isbell - Something More Than Free


Apr 21, 2017

Jason Eady: The Farce the Music Interview



Where He’s Been: A conversation with Jason Eady

By Kevin Broughton

Organic.

The word comes up often with Jason Eady. His songwriting process, the way someone plays pedal steel, the setup in a recording studio; he tags all with this adjective that can mean anything from farming without pesticides to a really hard chemistry class focused on carbon.  One gets the feeling, though, that Eady is using either the “having systematic coordination of parts” or “forming an integral element of a whole portraitures” usages.  

His sixth and self-titled album is being released today on 30 Tigers. His three-year layoff from the studio (since 2014's Daylight & Dark), overlapped with his easing into a fifth decade, produced a simpler, subtler Eady sound. Unplugged. Laid back. Smart. Organic.

The album’s first single, “Barabbas,” has been widely circulated and critically praised already. Such an ancient name – that of he who received clemency while the Savior bore the sins of the world – certainly raises an eyebrow. I heard the judge ask the jury, which one’s the one to go? Then I heard them say my name, and why I’ll never know. So begins a lilting, introspective look at how fallen humans deal with guilt, forgiveness and redemption. Powerful in its humility and simplicity, it sets the tone for an album so beautifully understated that it’s the best record to date in 2017.

There’s a lot of flavor: bluegrass (“Drive”); story songs (“Black Jesus” and “Why I Left Atlanta”); and a poignant tune about the backside of cheating, “Where I’ve Been.” There’s a love letter to his daughter, and a reflection of turning the big four-oh. What’s missing? A mediocre cut. No throwaways here.

We caught up with the Mississippian-to-Texan, fresh off a jaunt to the Emerald Isle, and talked about how to write a waltz, tag-team songwriting, and re-immersing in the Arabic language.

You’re just off the road from a mini-tour in Ireland. A lot of roots/ Americana artists seem to have strong followings in Europe, Ireland and the U.K., while they might struggle to build an audience stateside. Why do you suppose that is?

Yeah, man, I’ve 100 percent noticed that. My wife, Courtney [Patton], and I have been going over there for several years. And before this time we had never taken a band, it was just these small acoustic tours.

But we noticed that exact thing, and we’ve talked about it. I think one thing is they just love roots music there; they just appreciate the authenticity of it. They like that sound coming from the States, especially from Texas and the South. So I definitely think that’s part of it.

Another thing I’ve noticed: I think – in Europe, where not everybody speaks English – harmony tends to be a big thing there. It sounds good to them even if they don’t know the language. And unlike in the United States, that’s all they can latch onto.

Photo by Anthony Barlich

Help me fill in a couple holes in the bio your publicist sent me. It says you grew up in Jackson, Mississippi. But I was a resident of the 6-0-1 for 20 years, and I’m thinking Rankin County.  In broad strokes, tell me about your upbringing, and where you went to high school.

That’s exactly right. I went to Florence High School.  But yeah, I grew up with that Southern music, and it’s a huge asset. Because it’s not like anybody had to sit me down and say, “You have to listen to this much blues music, and this much Southern rock and this much country.” All of it was there, and none of it was compartmentalized.

Whether it was church on Sunday, or a street festival in Jackson on a Saturday afternoon, music was always around. My dad was in a bluegrass band, and on Tuesday nights he’d have a bunch of those guys over, and they’d sit around in a big song circle and play old country and bluegrass songs. They had a songbook with all the chords in them -- I’d give anything to still have that book today. But they’d sit around and play -- I was probably 12 or 13 at the time – and when they left, my dad would hang his Martin up on the wall. And I would sneak in and grab that guitar and the songbook, and sit in my room for hours trying to figure all those songs out.

So that was the beginning, and before long I was playing in a little band in Puckett (Mississippi, population 354 in the 2000 census). This guy had a gig in his garage every Friday night – he had a PA and everything – and so I’d be right there with them, playing these old songs. I was 15 maybe, just starting to drive, and before I knew it I was playing in honky tonks around Jackson. My dad had to go with me so I could get in.

I’d like to know what you did in the Air Force, how long you were in, and how you got from it to full-time Texas musician. And how old a boy are ya’?

Ha. I’m 42. I had gone to Nashville to try and do the whole singer-songwriter thing when I was 19. One day I got really frustrated with the whole thing. And I realized that I just wasn’t ready.  I was always into the “songwriter” thing, wanting to be taken seriously as a songwriter. Then I got up there and realized how good those people were, and that I just wasn’t there yet. So I thought I needed to get out and see some things, get out and find some things to write about and see the world. So sort of on a whim one day, I joined the Air Force and ended up going to school to learn Arabic.

Wow. You were military intelligence?

I was, yeah. That was my job.

I was in for six years. Went in in ’94 and got out in 2000. I moved back to Mississippi and had put the whole music thing behind me. I worked a job there for a couple of years and then the boss opened a second office over in Ft. Worth, and he sent me out there. I hadn’t played a show since before the Air Force; I had given it up and gotten married and had a kid. I thought, “Those days are gone. I didn’t do it, I missed that opportunity so I’m moving on.”

And after a while, I started to go out and play open mics just for fun. I needed a hobby. I had never quit writing songs, though, so I’d do some covers then throw in a couple of mine.

Now there’s one thing about Texas more than any other place I’ve seen: They want you to play your own songs. If you don’t, they kinda wonder what’s wrong with you.

Anybody can do covers.

Right! So it just kinda took off; it got to the point where I was starting to get gigs. I wasn’t asking for it, but I surely liked it. I was doing my own thing, and after about six months I started coming in late to work and…well, I turned 30, that’s what it was. I decided if I was gonna do it, that was the time, so I quit my job and make a go of it. Been doing it ever since, so 12 years now. 

Courtney Patton and Jason Eady
Listening to your self-titled album – and in particular the opening cut, which we’re fixin’ to get to, I promise – I kept asking, “Who is this girl with the angelic harmonies?” Turns out her name is Courtney Patton, and y’all are married. Furthermore, y’all released an album of duets in December called Something Together.* What kind of songwriting dynamic was that, as it appears each of y’all brought some songs to the table? Mechanically and logistically, how did that work?

We met each other musically seven or eight years ago. We’d played shows together but sort of lost touch because Courtney quit music for a while; we ended up reconnecting about five years ago.  Coincidentally, we were both divorced. We’d get together and play songs and write songs. We were friends for a long time before, so it worked out great.

We don’t write as much together as people might think. She still writes with a lot of other people, as do I. And I tend to write more on the road, while she writes a lot when she’s home alone. But we figured if people want to hear what we sound like together at live shows, let’s give them what they want.

We did Something Together in the studio in a day – about four hours, really, with some really good microphones. It was some of her songs and some of mine. But one day we’re gonna sit down and write a duets album together, like George and Tammy.  

I can’t wait. Let’s get to your current record.

NPR took a liking to “Barabbas,” and you said the song was about reacting to guilt. I wonder, pop culture-wise, if yours is the first stab at his character since Anthony Quinn played him in a movie…

Oh, really?

Yep, Quinn played Barabbas in 1961. But I’m curious about co-writing a song with three other guys (Larry Hooper, Adam Hood, Josh Grider.)  What was that division of labor like? Did somebody have the original name, or concept, or what?

Yeah, that’s pretty much what happened. Larry Hooper – who’s a great songwriter out of Texas – had the lyrics to the first verse and the chorus written out. And he had the whole idea of doing a song about Jesus and Barabbas, from the latter’s point of view. That was 100% him. And I took it and gave it a melody and wrote the third verse.

I knew it still needed something, and just happened to be playing a show with Adam Hood. And he grabbed Josh Grider, and things just kinda went from there. So, it wasn’t one of those deals where four guys sat in a room and crafted a song together, which is really cool. Sometimes when there’s a group setting, you can tend to compromise a little. With this type of writing, everybody gets more of his contribution put cleanly into it.

So that’s where it came from. And we were very careful, very intentional about not – in the lyrics – not mentioning his name or Jesus’s name or the time period. We wanted all that to come from the title, so it could be a universal song

You’ve said that as you’ve matured as an artist and a songwriter, “The real joy comes from the process, rather than the end goal.” Expand a little bit on that, and if you can, give an example from this new album.

I guess what I mean is writing for the artistic part of it. For the art itself, and not writing with the idea that you need this many radio singles, or this many ballads or this many up-tempo songs. Because I’ve done that on previous albums; in the back of my mind, it’s been, “I’ve gotta have at least one radio song.”

Over the years, I’ve found that whenever I think or anticipate like that, I’m almost always wrong. So planning things out like that is a futile exercise, and I’ve had more success with songs that I didn’t think anyone would respond to. And I’ve learned by now that if it’s a song that I like and feels natural and it’s going down well in the studio…and if it comes from an authentic place, I just have to trust in that, because it’s usually gonna translate.


Speaking of the process…listening to Something Together, there are several songs in ¾ time, some real pretty waltzes. This is kinda random and it’s never occurred to me before, but do you (or does anyone) sit down and say, “this is gonna be in ¾,” then write accordingly? Structurally, the phrasing is gonna be different; but do you hear it in your head first, and just let the words follow?

I think everybody’s different, so I can’t presume to speak for anyone else. For me, whenever I write, I sit down and just start playing guitar. Someday it might be bluesy, or country, or folky, but I just start strumming. And things either start happening or they don’t; I’ll have ideas jotted down, but it’s not very rigid. I don’t say, “Today I’m gonna write a song in ¾ time.” It’s a lot more organic than that.

So that’s where it starts, and then it just becomes what it becomes. And usually – I’ve found with all my songwriting – the faster and more effortlessly a song comes out, the better.  I try not to overthink it.

You’ve got some pretty heavy hitters on this record.  Let me just throw a couple names out, and you tell me how you got them there. First, Lloyd Maines plays a bunch of instruments; how did that work?

Yeah. Lloyd played on my A.M. Country Heaven album, and I’ve known him for years. You can’t play in Texas and not know of Lloyd Maines; he’s so central to this thing out here. I knew I wanted him on this album because I love the way he plays Dobro. And I also knew that steel was gonna be the only electric instrument on this album. So I knew it had to be someone who came at steel from a very organic place, and didn’t use a lot of pedals and a lot of effects. And I even told him, “I don’t want much reverb; just do your Lloyd thing.”

And of course, he nailed it. He did exactly what we were hoping he’d do.

And oh by the way, Vince Gill sings harmony on “No Genie in This Bottle.” He’s no slouch. How’d you manage that one?

Most of these people on the album are on it because of Kevin Welch. Kevin’s the producer and he knows all these folks. He spent a lot of time on the road with Vince, and I don’t know if he ever recorded one of Kevin’s songs, but they were together a lot during that whole thing during the 80s and 90s. And there’s an Austin City Limits episode out there where Kevin’s in the background, playing rhythm guitar for Vince.


So they’re good buddies, and while we were putting this record together, I just brought up Vince’s name and that I loved his harmonies. Kevin said, “Well, let me call him and see if he wants to do something.” And we sent him a couple of songs to see if he was interested, and if so, to pick one. And that’s the one he picked, and of course he just nailed it.

Did y’all do it live?

We did not. Unfortunately I’ve still not met Vince; I’m hoping to. But we did it the way a lot of records are made these days: We sent him the files and he just did his vocals and sent it back. But man, I’m hoping to. I’d love to do another song with Vince someday.

This makes how many albums for you?

This is my sixth, not counting the one with Courtney.

Then I think we should say seventh. Why a self-titled record now?

Because you only get one shot at it. I always said that one day I was gonna write a really personal album. I wanted to write most of the songs on it myself, and was going to make it about my personal story, something very authentic. And that’s definitely what this album is. There’s a song about my daughter. There’s a song about turning 40.

I’ve done a lot of different things over the years: songs made for Texas radio, songs that were bluesey-er. The last one was much more traditionally country. On this one, I tried to bring all those things together. Here’s everything that I do, all put together. And once I realized that I’d done that, I knew this was the time to make it self-titled.

Before we get out of here, I want to circle back to your time in the service and what you did, if that’s okay. You were military intelligence, Arabic-trained and got out not long before 9/11. Did you “what if” for a while, and do you pay attention to the news with a special perspective?

Yes, I got out a year before 9/11. It was a strange time for me because all that was still felt very fresh, and I knew that all of my friends who were still enlisted were about to have their whole lives changed. A part of me felt pretty guilty about that. And I definitely watch the news differently now than I did before I went in. I got a world perspective during my Air Force time, and especially being in intel, got to understand a lot of background about what goes on in the world. Once you see things from that perspective it's hard to go back. I still keep up with the news daily.

Did you choose Arabic, or did the Air Force choose it for you?

I didn't choose it. I went in to be a linguist but they picked the language. ** It wasn't something that I would have ever chosen, but looking back I'm really glad that it worked out that way. I learned a lot about that culture and it opened my eyes to a lot of things in that part of the world. That never would have happened without my time in the Air Force.

I’ve read that career diplomats assigned to that part of the world tend to fall in love with the Arabic language. Apparently there are so many words that can’t be translated to English with any sort of simplicity.

I love it. It's a pretty incredible language. They say that the language you speak plays a part in the way you think. I can see that. They do have words that would take us whole sentences to translate. My daughter is studying Arabic in college right now so I'm getting to get back into it by helping her. I'm having to brush up on it, and am remembering how much I like it.

------------
Post script:

Eady and I ended up swapping book recommendations, as we’re both fascinated by history and foreign policy. One he suggested is a real keeper, if you’re into that stuff: Prisoners of Geography – Ten Maps That Explain Everything About the World. I heartily endorse his endorsement.  

Just in case, you know, you wondered if this guy might be a thinking man’s songwriter.

Jason Eady's self-titled album is available today from Amazon, iTunes, Lonestar Music, etc.


* This record was released with little fanfare in December 2016. It would have otherwise made my Top 10 list in the FTM critics’ poll.

** Author’s note: Arabic, along with Farsi, Chinese and Korean are only assigned to recruits who’ve blown the top off the entrance aptitude test. Jason Eady will likely never be played on pop-country radio. (These two sentences may be related.) 

Aug 5, 2016

Friday Mixtape: Music From the Hospitality State


Mississippi is the birthplace of America's music. Don't believe me? Just look at that road sign. Whether you believe that or not (if you don't, you're wrong), we're still the home of a surprisingly lively and vital music scene despite our meager resources and relatively small population. Here's a playlist of current artists born in Mississippi. There are big time artists (Randy Houser, Rae Sremmurd, Jimmy Buffett), up-and-comers (William Michael Morgan, Dream Cult) and several from the roots realm who we cover fairly regularly (Water Liars, Jason Eady, Cory Brannan, Jimbo Mathus). Hip-hop, Americana, blues, country, indie rock... a little bit of everything. I didn't include Charley Pride or Faith Hill because I'm just not sure their status in regards to putting out new music. Anyway, enjoy! The Spotify playlist appears below the screen captures of the playlist.



Jun 9, 2015

Courtney Patton Performs "So This is Life" (w/Jason Eady)

Here's Courtney Patton (with her husband Jason Eady) performing the title track of her excellent new album So This is Life.


Jan 8, 2015

Jeremy Harris' Top 15 Albums of 2014


15. Foxy Shazam - GONZO
I don't know what happened but this album really grew on me. With every listen I was more 
and more into the crazy pop/rock sounds one of Cincinnati's most original sounding bands. 
The biggest bonus is that the album is free at foxyshazam.com


14. Those Crosstown Rivals - Hell and Back
This is one of the purest rock albums to be released this year. Very high energy from start to finish 
and features some guest vocals by Fifth on the Floor's Justin Wells.

13. Dallas Moore with Mama Madgelee Moore - Old Time Family Jam
While popular radio may have proclaimed their own "summertime albums", this was mine. The perfect music for sitting on the front porch eating peanuts and drinking cheap beer. (At least that's how I spent my summer) Dallas unleashes his talents by showing his vocal range and playing every instrument throughout the Appalachian folk songs on the album while being accompanied by his mother's dulcimer and her angelic voice.

12. Roger Alan Wade - Bad News Knockin'
I could sit and listen to Roger Alan Wade tell stories all day long but hearing him sing them is so much better. 
With this release he once again shows his serious side and offers a superb performance.

11. Joseph Huber - The Hanging Road
Joseph Huber brings one of the most complete and well mixed albums of 2014. With a little more exposure 
this could've been a huge album this year and deserves any and all praise it received
from those lucky enough to get a listen.

10. Sturgill Simpson - Metamodern Sounds in Country Music
Speaking of a huge album; Sturgill went all out on this one and received critical acclaim from so many people that I'm just wasting space by trying to pile on at this point. A must own for all underground music fans.

9. Jason Eady - Daylight and Dark
If Jason Eady isn't one of the best songwriters currently around then I don't know who is. An emotional train ride from start to finish.


8. Texas Hippie Coalition - Ride On
Just as THC states in their lyrics, "Rock ain't dead, it's just in rehab" and these red dirt rockers are doing their damnedest to bring it back to the masses by busting out their most solid release to date.

7. Jimbo Mathus - Dark Night of the Soul
This may be one of the harder to describe albums on my list. A little rock, a little country and a bunch of badass. Great all the way through and features two wonderful tracks written by the late Robert Earl Reed.

6. Bob Wayne - Back to the Camper
A giant step forward for Bob as he seems to be coming into his own while still embracing what fans have come to love and expect. Throw in some great duets and there is something for everyone within these tracks.

5. Phillip Fox Band - Heartland
Finally a full length Phillip Fox Band album. Building upon the sound first established in their debut EP 
"Motor City Blood" the boys swing hard and hit one out while maintaining their self proclaimed 
"country fried rock n roll" sound.

4. Red Eye Gravy - Dust Bowl Hangover
Have you ever wondered what it may sound like if Hank 3 didn't go overly weird at times on his last few releases? Me neither, but if I had thought about it I think this is as close of a guess as I could come up with.

3. Whiskey Myers - Early Morning Shakes
A smoothed up southern rock sound is maybe not the best way to describe the sound of Whiskey Myers but I think it gets the point across. The real question is, why hasn't Whiskey Myers blown up like Blackberry Smoke yet?

 
2. Robert Ellis - The Lights From the Chemical Plant
The ups, the downs, great lyrics and a song questioning religion. Sturgill? Nope, but nice guess. Solid from start to finish and I'll be listening to this one for years to come.

1. Matt Woods - With Love From Brushy Mountain
I once saw a list where Matt Woods wasn't even number one on a list of the most talented singers named Matt Woods. I'm sure this will make him feel better not only from that but also from all the sad songs that put his latest release at the top of my list.... or is it the bottom. Guess it depends on which way you count.

--------------------------
by Jeremy Harris

*unedited, because Trailer is lazy

Dec 30, 2014

FTM's Favorite Albums of 2014: 21-50


There will be commentary included with the top 20. These are all excellent. Trust me.




23. Jim Lauderdale - I'm a Song

24. Mastodon - Once More 'Round the Sun


28. Bruce Robison & Kelly Willis - Our Year

 30. First Aid Kit - Stay Gold

31. Beck - Morning Phase

33. Big K.R.I.T. - Cadillactica


38. John Fullbright - Songs

39. Cloud Nothings - Here and Nowhere Else

40. Lake Street Dive - Bad Self Portraits

 41. Shakey Graves - And the War Came

42. Old Crow Medicine Show - Remedy

43. Ryan Adams - s/t


46. Ty Segall - Manipulator

47. Jack White - Lazaretto

Apr 1, 2014

Best Albums of 2014 So Far: 1/4 Report

Subject to change, one of these hasn't been released yet, blah blah disclaimers...



1. Lydia Loveless - Somewhere Else


2. Drive-by Truckers - English Oceans


3. Jimbo Mathus - Dark Night of the Soul


4. St. Paul and the Broken Bones - Half the City


5. Beck - Morning Phase

6. Jason Eady - Daylight and Dark

7. Josh Nolan - Fair City Lights

8. Whiskey Myers - Early Morning Shakes

9. Red Eye Gravy - Dust Bowl Hangover

10. Chad Sullins and the Last Call Coalition - Wicked Spell

11. Jeff Whitehead - Bloodhound Heart

12. The Bigsbys - Good Will Suitcase

13. Lake Street Dive - Bad Self Portraits

14. Those Crosstown Rivals - Hell and Back

15. Hard Working Americans - s/t

16. Rosanne Cash - The River & The Thread

17. Mat D and the Profane Saints - Holyoke

18. Water Liars - s/t

19. Robert Ellis - The Lights From the Chemical Plant

20. Sharon Jones and the Dap-Kings - Give the People What They Want

Feb 19, 2014

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