Showing posts with label Larry Hooper. Show all posts
Showing posts with label Larry Hooper. Show all posts

Apr 21, 2017

Jason Eady: The Farce the Music Interview

Where He’s Been: A conversation with Jason Eady

By Kevin Broughton


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.) 

Dec 14, 2016

Best Songs of 2016: Beyond the Top 10

2016 was a bad year for music. So many legends lost. And it was a slightly down year for albums (to be fair, the past 2-3 years were so stellar, it's hard to compete and unnecessary to complain). However, it was a really good year for songs. Here are the tunes just beyond my top 10 that I feel need recognition - Look closely, some don't have videos. There are, of course, many others I enjoyed through the year, but for me this is the cream of the crop. Farce the Music's top 10 songs of 2016 will be posted tomorrow. ~Trailer

No particular order.

Blackberry Smoke (ft. Gregg Allman) - Free on the Wing

Margo Price - Hands of Time

 Erik Dylan - Fishing Alone

Jack Ingram - Blaine's Ferris Wheel

Brent Cobb - Country Bound

Charles Bradley - Changes

Rob Baird - Horses

Western Centuries - Off the Shelf

Larry Hooper - Cry Me a River

Lydia Loveless - More Than Ever

Caleb Caudle - White Dove's Wing

Sturgill Simpson - Call to Arms

BJ Barham - Water in the Well

Amanda Shires - Pale Fire

Chance the Rapper - No Problem (feat. Lil Wayne & 2 Chainz)

Randy Rogers Band - Things I Need to Quit

Kelsey Waldon - All By Myself

Beyonce w/Jack White - Don't Hurt Yourself

Gojira - Stranded

Tedeschi Trucks Band - Let Me Get By

Quaker City Night Hawks - Mockingbird

May 6, 2016

Album Review: Larry Hooper - No Turning Back

Larry Hooper's No Turning Back surprised me. I did not expect the bearded everyman troubadour to go the routes he chose. It's a bold statement, and one that may lose him dedicated fans, but gain a whole new audience, or probably not. Normally, I'd vaguely summarize an album in the opening paragraph before delving into its contents, but I don't want to spoil anything …so lets dig in.

"Daydreams" leads off the album with a funky hip-hop beat that bass drops into a nu-metal sounding guitar riff. Larry then comes in with a "yeah baby" and you know this isn't going to be anything you might enjoy. The song is about working all day long, but daydreaming about skidding your pickup into your girl's drive at 5 after 5 with a 6 pack and all the romantic notions of a horn-dog 17 year old. It's an interesting about-face for the formerly thoughtful Texan, but hey, bills don't pay themselves.

"Cry Me a River" is, yes, a cover of Justin Timberlake's smash hit. While lacking the smooth pipes of Mr. Timberlake, Larry makes the song his own. In fact, he has the audacity to lead into the song with the statement "I wrote this for all them girls done me wrong." Legalities and copyright aside, Hooper proceeds to rap the entire song. He's a surprising adept rhyme dropper.

Later on, in the song "Practice Makes Perfect," a rollicking hick-hop track about shooting stuff, a strange thing happens. Though the track-listing says Courtney Patton is the vocal guest, there's actually just a slowed down sample of Rihanna's "Work." Again, I'm not sure this is legally on the up and up. It also doesn't really make sense, but Larry's trying everything here.

Help me
"I Was Wrong" is a folk-ska song that sounds a little like a Cure cover band with your uncle Mark doing lead vocals. Incongruently, the song is about Larry reconsidering his opinion of Linkin Park. I don't even know what's going on anymore.

"Fire and Brimstone" turns out to be a black metal re-imagining of the album's 4th track, the aggressively bro-country "Barabbas." I'm a little worried for my friend. Larry seems to have taken a cue from Zac Brown Band and decided to fling everything he can think of against the wall, hoping for some traction. Unfortunately, the wall is teflon coated and he's slinging Astroglide.

Though Hooper tries very hard, it doesn't all work, or rather, none of it works at all. From the veiled references to Star Wars porn parodies, to the spoken word asides about sweatbands, to the inexplicable constant profanity, No Turning Back is an absolute dumpster-fire-nado that will remove the better part of an hour from your life with no positive return. Lets hope Larry goes back to the intelligent folk-tinged country he's known for on the next try, but I have my doubts anyone will help kickstart his next effort after this raging inferno of batshit. No turning back indeed.


If brave, you can buy No Turning Back on iTunes, CD Baby, or Amazon.

Apr 27, 2016

WWE Country Reaction Gifs 9: FGL, Wilco, Luke, Larry Hooper, etc.

When you hear Florida-Georgia Line has another #1 song

How you'll feel when you hear Larry Hooper's new album
(out Friday!)

Reading the comments on a Luke Bryan YouTube video like...

When your friend says "Wanna stay and watch some CMT?"

Waiting for country radio to play a country song like...

Why you would be a Jason Aldean fan

 Wilco! Son Volt! Wilco! Son Volt!...

Dec 29, 2011

Best Songs of 2011

1. Jason Isbell and the 400 Unit - Codeine

2. Kasey Anderson and the Honkies - Exit Ghost

5. The Damn Quails - Fools Gold

The Rest of the Best:
Hayes Carll - Another Like You
Bad Meets Evil - Fast Lane
Stoney Larue - Dresses
Robert Earl Reed - Road to Hattiesburg
Black Joe Lewis & the Honeybears - She's So Scandalous
Mike Ethan Messick - Walking Into Walls
Robyn Ludwick - Out of These Blues
Larry Hooper - Time to Go
Dawes - Fire Away
Hellbound Glory - Better Hope You Die Young
Willie Tea Taylor - Life is Beautiful
Eric Church - Springsteen
Blitzen Trapper - Love the Way You Walk Away
The Black Keys - Gold on the Ceiling
Drew Kennedy - Home to Me
Frank Turner - If I Ever Stray
Brad Paisley - A Man Don't Have to Die
Kelsey Waldon - God-Fearing People
JC Brooks and the Uptown Sound - I Am Trying to Break Your Heart
Glossary - Some Eternal Spark
Chris Young - Neon
The Damn Quails - Mary
John Moreland and the Dust Bowl Souls - Good Enough
Foo Fighters - Arlandria
Jimbo Mathus - Cling to the Roots
Amanda Shires - Ghost Bird
Pistol Annies - Trailer for Rent
John Popper and the Duskray Troubadors - Champipple
Ronnie Dunn - Cost of Livin'
Miranda Lambert - Mama's Broken Heart
Nick 13 - Carry My Body Down
Raphael Saadiq - Stone Rollin'
Big KRIT - Another Naive Individual Glorifying Greed & Encouraging Racism
George Strait - Poison
Centro-matic - Estimate X 3
Amos Lee - Flower

Oct 11, 2011

Larry Hooper: The FTM Interview

My latest interview subject is a longtime internet associate of mine. We go back some 8-9 years on as fellow idiots who post about Americana and indie rock and pretend we know something about music. Well, come to find out, Larry does know music. In fact, he makes music. In fact, he's released an album entitled Rust, and is in preparation for the release of his second album, Between Here and the Stars, (Next Tuesday! Click here to check it out/buy it.) for which his bio claims there is "great anticipation." I have my suspicions, but let's talk to him and find out some stuff about this bearded Texan.

FTM: Larry Cooper! It's good to finally run you down.

Larry: Hooper! Hooper!

FTM: Sorry about that, I'll have to fire another research assistant. It's odd that I got it right in the title! Welp, let's get to the interview. You have performed with such Texas stalwarts as Susan Gibson, Ray Wylie Hubbard and Slaid Cleaves. Do people ever confuse you with Zac Brown?

Larry: I usually get Alan from the Hangover. I think its because im so much better looking than Zac Brown, and also my head sweats too much when i wear a beanie in Tx.

FTM: Well, irregardless, that's one fine specimen of a beard you've got there.

Larry: Thank you. A genie granted me 3 wishes and I choked and used all 3 on beard growing abilities.

FTM: I can't judge you for your wise choice.

Your first album is called Rust. Is the song "Wild Side" a Motley Crue cover?

Larry: It is but we changed all the words and the music and made it a different song.

FTM: You're from New Braunfels. Why?

Larry: I am not from New Braunfels, thats why.

FTM: Do you ever run into that prick Drew Kennedy?

Larry: I thought we agreed no Drew Kennedy questions. If theres one person I hate mentioning in an interview, it's Drew Kennedy.

FTM: Your beard is much more impressive than his. Have you ever written with him?

Larry: I tried to one time but he called me proletariat and had his guards beat me with socks full of quarters.Oddly enough, ankle socks full of quarters, which didn't really change the outcome for me that much but it made it much more difficult for his henchmen.

FTM: Your bio says you graduated high school. That surely puts you among the upper tax bracket in New Braunfels. How do you deal with other New Braunfelians' jealousy of your high standing in society?

Larry: I still don't live there. If I did, I would probably have to get me some kind of Popemobile or maybe some guard tigers.

FTM: Your vocals at times remind me of Chuck Ragan - you clearly know who that is since you stole his bit.

Larry: I do now that I Googled him.

FTM: Right, be honest. Did you steal his bit?

Larry: I didn't before, but I've been looking for a bit to maybe his will be the one.

FTM: You're a family man. How many kids do you have?

Larry: Just one (that I KNOW of...heyooooooo!!!! no just the one though.)

FTM: Your brother, Jeromy, often plays and sings with you. Does he have as awesome a display of facial hair?

Larry: He has the abilities but opts for the 5 oclock shadow. He's always hoping someone will mistake him for Matthew Fox from Lost but it never happens.

FTM: Let's get into the album (Between Here and the Stars) a bit, what's with that accent?

Larry: When i was born I made sure it was in the south so I could have the accent naturally. It used to be a lot worse before I got these "Larry the Cable guy teaches enunciation" DVDs.

FTM: Oh, that explains it. I thought you might have a hearing problem.

This album proves you to be a strong, witty songwriter with an ear for a good hook. What up with that? I always pegged you for "slow."

Larry: Oh you were very much correct in your beliefs..I'm just kinda like rain man, only instead of being really good at blackjack and counting toothpicks, I write mediocre songs.

FTM: You have a song on the new album that disses the Westboro Baptist Church. I grew up a Baptist, so this greatly offends me. Do you hate Jesus?

Larry: I tend to stay away from writing songs with a message or a cause or anything. But I didn't this one time and I've had to explain myself a few times since I wrote this. It's just directed at that one church. If you grew up baptist I would imagine you dont care for them. They're the ones that picket soldiers funerals and say they deserved to die because God hates homosexuals. Basically they are the scum of they earth and do way more harm than they do good, if they actually do any good..I haven't heard of any good that they do. My brother and I wrote this to kinda say "if you're what Christianity is supposed to be, them I don't want anything to do with Christianity." the song puts it "if you're gonna be in Heaven, then I'd rather be in Hell"

FTM: Ah. I'm gonna let you slide this time.

Well… I've "known" you for years on Are you ready to go on and confess that you are in fact the fake Cowboy Troy who sometimes posts there?

Larry: No comment (

FTM: Did you participate in the AltCountryTab invasion of that Reba fan site?

Larry: I was indeed part of Rebagate.

FTM: Good times. Do you think that will someday affect your eventual run for President?

Larry: Only if they trace my super secret screen name, NOTLarryHooper back to me.

FTM: Where do you see yourself in 2 years and 7 months?

Larry: I'm not sure, when is leap year?

FTM: What's your favorite Wiz Khalifa song? And don't say "Black and Yellow," everybody loves that classic.

Larry: Either "No Sleep" or "Fly Solo" but really, who can pick a favorite?

FTM: Your bio says you were strongly influenced by the smooth country sounds of Ronnie Milsap and that you particularly love Olivia Newton John. Who else would you count as influences?

Larry: Drew Kennedy.

FTM: Gabe Wooton, Mike Ethan Messick and Bun B are also mentioned as contemporaries of yours. They really let you hang around them?

Larry: It's kind of turned into a game. They try to keep it a secret where they are gonna be and I just keep finding out!! I had no idea Lo-jacks were getting so cheap!

FTM: You went to Texas A&M for a while. Who cares?

Larry: Well..nobody really. None of my employers have cared. A&M doesn't seem to think too kindly of it, and I have little to show for it. So, there, thanks for the salt in that wound.

FTM: We've already discussed your ties to Mexican drug and gun cartels. What sort of work do you do as a cover for your illicit affairs?

Larry: I drive a school bus. That way if I get in trouble I can just blame the kids.

FTM: Okay, buddy. It's time for the (regionally semi-)famous lightning round. Off the top of your head, what's 4561 divided by 16?

Larry: 9

FTM: It's 285.0625. Geez. You were right about that A&M education.

If you could cowrite a song with either Guy Clark or Hayes Carll, would you rather wear a man-thong or go commando?

Larry: Straight Mankini

FTM: How many times have you been arrested?

Larry: Just the none.

FTM: You have any child-rearing tips for readers?

Larry: Learn to not sleep or invest in some meth.

FTM: If you ever become as famous as Kasey Anderson, will you wear a cute little hat like he does?

Larry: Unfortunately my head is abnormally large so I cant wear little hats. I have to wear the big foam ones they sell at sporting events.

FTM: Shiner Bock or Pabst?

Larry: sweet tea

FTM: Why do people from Texas seem to think they are better than me?

Larry: What kind of question is that, you jackass?

FTM: A forlorn one. Can I have your autograph?

Larry: No but I'll sign someone else's name for you. Need a doctors note?

FTM: Nah, I'm good. Will you be using autotune on your next album? All the kids are doing it.

Larry: It's all I'm going to use. No instruments... all me making noises into the autotune machine.

FTM: Does your kid have a beard yet?

Larry: It's a sensitive subject, but unfortunately she does not.

FTM: Okay, one more. Would you rather sumo wrestle Jerry Clower or sit through a Dane Cook performance?

Larry: CLOWER!

FTM: Trick question, Looper! Jerry Clower is dead! Have some respect!

Larry: I'd rather sumo wrestle the ghost of Jerry Clower.

FTM: Well, thanks for your time. I'm sure that drummed up a lot of support for you and anticipation for Between Here and the Stars. Now, go groom your visage adornment!


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