Category Archives: Interview

Interview – Marco With Love

Photo credit - Curtis Wayne Millard

Photo credit – Curtis Wayne Millard

EOAF recently caught up with frontman Marco Argiro (guitar/lead vocals) of Brooklyn-based indie rock band Marco With Love to discuss the band’s upcoming EP, Townes Van Zandt, NYC inspiration, Slimer from Ghostbuster, and his kick ass band members Subodh Samudre (bass/ backing vocals), Blaine O’Brien (pedal steel/backing vocals) and Peter Landi (drums/backing vocals).   The band’s four track EP, Tidal Wave, is slated for release on July 17th.

EOAF: What’s the quick and dirty of how you guys came together (when, where, how, etc.)?

Argiro: I met Peter a few years back when we were both doing live session work for a mutual friend of our’s band. He and I became fast friends and later he ended up playing drums for my British side project The Killing Floor. So when I was assembling the live band that would later turn into Marco With Love he was the obvious choice to be the drummer. Subodh and I met at Ping Pong Tournament some years ago hosted at the Corbis offices in NYC. We bonded over a mutual admiration for 90’s power pop bands like Superdrag and Nada Surf and talked about one day having a jam. Our schedules didn’t line up to make good on that jam ’til a couple years later when I was wrapping up production on the Love LP. We had a instantaneous spark. Together we worked on the music for what would later become Tidal Wave, the band’s first song. I met Blaine at the 11th street bar in the East Village only a few short years back. He was playing pedal steel and harmonica in his band Brothers NYC and I just so happened to be the support act on the bill. I was immediately intrigued by his playing and style having just spent the last couple years exploring the cosmic American music of Gram Parsons. Up until this point I hadn’t seen anyone playing steel guitar up close before, and I was blown away by the sound he was putting out. I remember approaching him after their set and asking if we was a fan of “Sneaky Pete” Kleinlow. Thankfully he said yes, and within a short few months he joined Subodh, Peter and myself at the next rehearsal. The core of MWL’s lineup was now in place, the rest is as they say. History.

What inspired the new EP? 

The new EP was inspired by living in the big city, our collective travels around the globe, family, and the need to create our own blend of Jangly Country Fried Rock n Roll music. Visionary artists like John Lennon, Tom Petty, and high energy garage acts like the Sonics and The Troggs really helped path the way for us and helped the guys and I to push the boundaries of conventional modern music. We have also decided to add a fourth cut to the EP. It’s a song called “Leave It Behind” and some folks may recognize it from the Love LP. The original version is in a different key and was recorded back in 2012 in my Bushwick basement studio. The band and I felt the new MWL version far better represented our band’s sonic evolution and captures the intensity of the band’s live show with some added psychedelia production.

Why did you choose to include a Townes Van Zandt cover (Waiting Around to Die) on your EP?  How does it fit with the other song?

We decided to include the Townes cover on the EP because we all loved the way it turned out in the studio. The song has a great vibe and truly captured a moment. We also felt that it helped showcase our band’s versatility and ability to explore related genres. Waiting Around to Die is the kind of song we aspire to write ourselves one day. As far as how it fits on this particular EP, we felt the fictional drifter in this particular song is not unlike the character in Poor Young and Gifted and also share similarities to one of the main characters in Leave It Behind. Both had an abusive father and had to endure hardships along life’s journey.

What is your songwriting process like…who is the primary songwriter?  How do others contribute?

Our songwriting process varies from tune to tune. Historically I have been the primary songwriter for the band, but with the Tidal Wave single the music has been more of a collaborative effort. For example, during one of our earlier writing sessions Subodh had a really cool riff that he had been messing around with. He shared the idea with me and we quickly started jamming on it for a while until we came up with some other chord changes together and thus the rough outline for the tune was born. I generally record these raw sessions into an iPhone singing a rough melody so they can be further explored at another time and mined for other potential ideas. Once we’ve had a chance to shape them a bit more we like to get the whole band together and start jamming as a unit. We usually then realize what is missing from the arrangement and each member adds the dynamics that are needed in order to fill out the song on the their respective instrument. Every single member of MWL is a multi-instrumentalist and capable of writing songs on their own so this helps tremendously when being objective during a jam or a writing session. In between rehearsals and gigs is typically when I work on lyrics for the songs. Living in Brooklyn, I often write in transit. Mostly on subway commutes or even in the back of cabs utilizing the iPhone again only this time working on lyrics by typing in notes. Though I prefer to write in my home studio in Clinton Hill, you never know when a line will come to you and a potential lyric will be born.

Did you all grow up in NYC or just live there as adults?  If not, where did you grow up and how was music incorporated into your lives?

Like most people living on this island we all originally came from other places. My father and his family immigrated to New York from Italy back in the early 60’s, but he and my mom ended up moving to South Florida where they raised my sisters and I down in Fort Lauderdale. From a very early age music became the driving force in my life–started bands with my best friends, made records, and submersed myself in the local punk music scene. The only member of the band that actually grew up in the New York area is our drummer Pete Landi. He grew up out in Sag Harbor and like the rest of us music played an integral part of his youth. Subodh, our bassist and his family ended up settling in Virginia Beach, Virginia after living all over the world. He grew up playing in bands in the early post hardcore emo scene in Virginia Beach then continued to make waves playing and touring with various bands in Richmond, VA. Blaine, too, called Virginia home, only his town was Roanoke. I think it’s safe to say we all got the musical bug pretty early on in life which helped shape our trajectory.

What types of things/events/experiences inspire you to write?

Various subject matter tends to inspire our band’s material.  While some songs tend to lean more towards abstract thought and points of view, others are more direct chronicles of the lives of family and friends. Tidal Wave could very well be about turning over a new leaf as much as it could be about the ridding oneself of poisonous people in our life. We consider ourselves socially conscious, but not overtly political. To quote Arthur William Edgar O’Shaughnessy, “We are the music makers, and we are the dreamers of the dream. Wandering by lone sea breakers, and sitting by desolate streams. World losers and world forsakers, for whom the pale moon gleams. Yet we are movers and the shakers of the world forever it seems.”

How has living in NYC influenced your music?

Living in New York City has kept us street smart and continues to inspire all of us on a daily basis. Getting just about anything done in NYC is just a little bit harder than most other places we’ve lived. Though the city is almost too fast paced and often can prove to be logistically difficult, the people and the rich musical history help keep our heads in the clouds.

Why type of venue/music event do you enjoy the most? (listening room, bar, club, festival, songwriters session, etc)?

Every stage we get up on has its perks. There’s something about playing to an intimate room where people are listening to every lyric and really engaging, but of course for us rockers playing a big festival or club show with a packed room is pretty darn cool. Regardless of the size of the audience we always aim to make every last person in the room leave the venue with a smile on his/her face. Ideally they will remember their MWL show experience and bring a friend to the next one.

What do you enjoy the most about performing live?  Any specific experiences that stand out from your shows?

I love it when the show all comes together, it’s really rewarding for us to work hard on writing the material, rehearsing it with the band and then the big pay off comes when we play out for a live audience. It really is a symbiotic relationship between the audience and the guys and I. It’s always nice to return to a city or venue and looking out into the crowd only to notice people are singing along or even just smiling. There was one time that we played the Knitting Factory in Brooklyn with a couple bands from Detroit when the guys and I noticed that there was a guy dressed up in a Slimer costume from the Ghostbusters movie.

How has social media helped your music career?

Social Media is a blessing and a curse. On one hand it has helped us reach music fans in far off lands as well as down the road from us in Brooklyn. On the other hand, I feel it can take away the mystique that musicians once had. People end up knowing way more about artists these days. As a musician it can sometimes seem like a chore. I think overall I’d prefer to just make music rather than worrying about telling everyone what were doing at that particular moment. That being said, I bought into it early on and saw the potential and reach that it could provide independent artists.

Tell me a bit about your upcoming touring schedule…how are you going to promote this EP on the road?

Well, we plan on having an EP release party here in NYC, in addition to a few dates in Nashville, San Francisco & Los Angeles. We will be getting our new record into all the mom and pop and independent Brick n Mortar record stores that we possibly can around the states and across the pond in the UK/ Europe.

What do you do when you aren’t writing or performing?  Any other interests or charity work?

When I’m not writing or performing you’ll likely find me behind the bar slinging drinks, however I like to spend time with family, read, and watch documentaries with my dog Layla. I’m also a volunteer member of Musicians On Call here in NYC. We do our best to brighten the day for sick kids and their families. Subodh is a Creative Director and Art Director for Advertising, a rock ’n roll photographer, music composer and is always busy producing art projects with his design company ‘Make Things Awesome.’ Peter works in a record store and also fronts his own grunge rock band, The Glazzies. Blaine designs websites, is a honky-tonk DJ, does kickboxing in addition to session work for other groups.

Take a listen to the first single off of MWL’s EP, Tidal Wave, and check in on news and tour dates via Facebook.

 

 

 

1 Comment

Filed under Interview, Music

Interview – Paleface

Photo by Sooz White

Photo by Sooz White

In a world where musical authenticity is constantly being called to question, anti-folk icon, Paleface, is as real as they get. After nearly three decades of writing and performing music, Paleface remains true to his craft and continues to create art that is raw, fresh, and inspired.

Paleface’s music career is much like a collection of short stories, woven together with unpredictable highs and lows—each chapter marked with different shades of joy, sorrow, chaos and control. Throughout it all Paleface has managed to come out on the other side with tales to tell.

Paleface got his start playing music at NYC clubs in the late 80s, rubbing shoulders with creative minds like Daniel Johnston and Beck. While being managed by the legendary Danny Fields, Paleface signed a major-label record deal, began putting out albums, and touring with bands like Crash Test Dummies and The Breeders. Everything appeared to be falling into place, but by the late 90s Paleface’s partying lifestyle caught up with him, nearly taking his life and forcing him to reevaluate his direction.

By 2000, a sober Paleface found himself among a new crop of imaginative musicians in NYC, many calling themselves “anti-folk.” Artists like Kimya Dawson, Regina Spektor, and Langhorne Slim shared the stage with Paleface, and he soon became an integral part of the anti-folk scene.

“Anti-folk didn’t stand for anything,” Paleface said. “It was whatever you can do to make art you should share it, get on stage, do it. If people like it, great, if they don’t, that’s OK, too. Nobody was gonna crucify you ‘cause you were bad or not what they wanted. In that anti-folk scene nobody would care ‘cause anything goes.”

It was during this period in his career when Paleface struck up a friendship with Scott and Seth Avett (The Avett Brothers). This instant artistic connection ultimately drew him, and girlfriend/drummer Monica “Mo” Samalot, away from New York in 2008 to start a new life in Concord.

After moving to North Carolina, Paleface and Samalot hit the road, touring as a high-energy folk-rock duo throughout the United States and Europe. Paleface continued to record and release albums like the self-released “A Different Story” as well as “The Show Is On The Road” and “One Big Party” on Ramseur Records. Studio and on-stage collaborations with The Avett Brothers exposed a whole new audience to Paleface’s music and it appeared that his momentum had shifted up again.

However, a health scare and setback in Europe while promoting “One Big Party” forced the pair to take time off to regroup, yet again. Unable to tour, Paleface spent time focusing on getting healthy and painting — a talent he had discovered while living in NYC.

“Painting is very meditative and relaxing in a way that music is not,” Paleface said. “It’s like a puzzle that you figure out as you go which at any moment can change or be wrecked by your next move. Music, if you change something you can immediately go back to how you had it if you don’t like the change.”

Paleface creates bright, bold, music-inspired folk-art. His canvas and drum head paintings often carry uplifting themes, much like his music, and he sells them as special one-of-a-kind merchandise at shows.

“I think of my paintings as rock-n-roll folk art, and my music, too,” Paleface said. “I like the fact that people can get this special thing that’s much better than a CD or T-shirt or even a print … 250 sold paintings later I’m still making them and getting more and more interested in it all the time.”

In reality the paintings help to supplement the often stretched-thin income of a touring independent artist. Life on the road is difficult, but Paleface has managed to stay positive after all of these years.

“[Touring] is harder work than people know,” Paleface said. “It sounds romantic and I wouldn’t trade it, but you can get tired with the miles. Great shows can always help build you up and bad shows remind you nothing is certain, but I love seeing all the friends we’ve made out there on the road and checking on the progress they’ve made in their own lives.”

Paleface has been touring through Greenville for several years, a stop that he may have missed had it not been for his connection with the Avetts.

“The first time we ever came was back in the day playing with the band Oh What a Nightmare, which at the time was The Avett Brothers’ other project, kind of a hard rock trio with Seth on drums and Scott on electric,” Paleface said. “I like Greenville a lot. The Spazzatorium was a great scene and Jeff [Blinder] who used to book there had really good taste so it was always fun to go there and play. After it closed we just kept coming back because we liked playing here.”

While the Avetts may have brought Paleface to Greenville, Samalot keeps the duo coming back. She is the driving force when it comes to the business side of things — mapping out tour routes, booking venues, handling all social media—in addition to rocking the drums and singing harmonies. Paleface and Samalot are partners in every sense of the word. On and off stage their mutual respect and love is unmistakable and they are constantly pushing each other to improve.

“(Samalot) really loves harmony so we’ve been doing a bit of that of late,” Paleface said. “She also remembers songs that I forget and if she likes it enough pushes me to bring it back and make it something. I must confess that I’ve only recorded a fraction of the songs I’ve written so it is good to have someone who remembers them.”

When it comes to songwriting, Paleface’s talent is off the charts. He is a true storyteller, creating a unique auditory experience that reaches all ages. Paleface’s ability to write songs with traditional acoustic instrumentation that ends up feeling charged and electric is unmatched and magical.

“[It’s an] obsession,” Paleface said. “I don’t need to bottle it. It just is an inextinguishable flame that burns inside.”

As he begins another new chapter in his career, Paleface is approaching his newest material from a more informed and introspective place. Though it has been challenging, he is confident that his approach will yield some of his best music to date.

“For a while, because I’ve had a rough time in the music (business), I just wanted to stand on stage and sing happy songs and I didn’t really care if it was cool or not,” Paleface said. “Lately I’ve felt a little restless with that. I’m taking my time with it so I don’t know when it will be finished, hopefully soon.”

Until then, fans can catch Paleface touring across the country. This month, Paleface will once again make a stop in Greenville to close out Spazz Fest VI at Christy’s Europub on March 22 from 7-11 p.m. Fans can expect Paleface to deliver another fun and lively performance, full of some of his best old tunes, a few new ones and plenty of audience interaction.

“I want [the audience] to feel the energy and give it back so we can both bug out to the sound vibrations,” Paleface said.

This piece originally ran in Mixer Magazine.

Leave a comment

Filed under Interview, Live Shows, Music

Music and Healthcare – Dave Lamb’s Story

Brown Bird's Dave Lamb and MorganEve Swain

Brown Bird’s Dave Lamb and MorganEve Swain

Independent touring musicians typically think about costs associated with lodging, van repairs, and replacing an old blown out amp.  While a touring life doesn’t always coincide with the healthiest of lifestyles, the thought of budgeting for proper healthcare is often placed on the back burner–that is until it turns into a screaming tea kettle that can no longer be ignored.

Such was the case for Brown Bird‘s Dave Lamb, who was diagnosed with Leukemia last year while on tour promoting the band’s most recent album, “Fits of Reason.”  It was at a show in Houston when the fatigue was so insurmountable that he was rushed to the emergency room.  The diagnosis was shocking, as was the aftermath of medical bills that piled up for this uninsured musician.

With the tour cancelled, and no income in sight, Lamb set up a crowd-funding campaign on YouCaring to help offset the growing medical expenses.  The response was overwhelming, and Lamb was able to raise over $60,000.  As he continues treatment along the long road to recovery, Lamb is speaking out to other uninsured artists about the importance of finding coverage.

“It’s important to be informed about your health care options because the costs may be more manageable than you might otherwise have thought,” Lamb said. “I want to encourage others to understand the importance of having health insurance when you’re suddenly faced with a very serious illness.”

Lamb, along with bandmate MorganEve Swain, recently teamed up with HeadCount–a nonprofit organization that works with musicians and fans to help promote participation in democracy.  While HeadCount typically focuses on voter registration, the organization is now working directly with the U.S. Department of Health and Human Services to assist musicians seeking information about health insurance.  They are also helping musicians like Lamb tell their stories.

HeadCount has created a dedicated information hotline that musicians and music industry professionals can call with questions about health insurance, at (919) 264-0418.

Leave a comment

Filed under Interview, Music

Interview: Jiggley Jones

Photo: Beauty By Grace

Photo: Beauty By Grace

To kick off the new year, Evolution of a Fan caught up with Americana singer-songwriter Jiggley Jones, out of Coatesville, PA.  Last year was a huge year for Jones, who took home the  Songwriter of the Year award at the 2013 International Music and Entertainment Association Awards (IMEA), which was held in Ashland, Kentucky.  Jones took some time to chat with us about his music, fans, and family.

Evolution of a Fan: How did your upbringing affect the type of musician you are today?  What kind of music were you exposed to at an early age?
Jiggley Jones: I only dabbled in music when I was really young, singing at church and playing the clarinet in elementary school. It wasn’t until my later teens that I started to get serious about my love for music. I think the radio was my main influence musically when young and as I got older and bought my own albums I was finally able to branch out a bit.

EOAF: What does it mean to you, to have won the 2013 IMEA Songwriter of the Year award?

JJ: Wow, “Songwriter of the Year”. This is my forte, my bread and butter, my contribution. It means everything to me to be recognized for that!!

EOAF: What is your songwriting process like?
JJ:  I do try to block out time to write because I really need to focus on the mental side of the music without distraction. I usually start with a guitar chord progression or “riff” and then I’ll “scat’ sing a vocal melody over that. I might even put in some vocal harmonies before I sit down and painstakingly work out the lyrics. Usually they will be based off of how the music is “moving” me at the time.

EOAF: What types of things/events/experiences inspire you to write?
JJ: Everything I’ve stumbled across in life inspires my lyrics. Mostly I generalize so the listener can put their own life into the song. Once in a while I get more specific but overall music means emotion.

EOAF: How does “storytelling” play a part in your  music?
JJ: I have told a few specific stories in the past but I feel the story is up to the listener to develop in their own mind.

EOAF: Why type of venue/music event do you enjoy playing the most?
JJ: I really like the coffee house or small “tight” room/bar. The sound quality is usually perfect for what I’m doing which most of the time is me with my acoustic guitar and maybe one other instrument at most.

EOAF: What do you enjoy the most about performing live?  Any specific experiences that stand out from your shows?
JJ: There’s an energy in the air that can’t be simulated in any other situation. There’s always that pressure to get it right and perform with the emotion that you need on a consistent basis. So playing live pulls out that inner you and when you’re on, you’re on. It’s always nice to get those compliments at the end of the night also.

EOAF: Which musician/band has had the most profound influence on your songwriting/performing?
JJ: Classic rock was always my go-to influence. I still listen to it today. Mix some old Neil Young with some acoustic Led Zeppelin, and throw in some Eagles and Steve Miller and there you go.

EOAF: What musicians would you have on an iTunes playlist?
JJ: Other then the ones I just mentioned I would go more current and throw in some Blackberry Smoke, Zac Brown, Dave Matthews, and maybe go real old school with Mozart.

EOAF: Is there a story behind your name?  If so, care to share?
JJ: Well it’s certainly not that interesting of a story but Jiggley is a real nickname that I’ve had for years. I was at a party one night up in New York and that name got stuck to me during the night somehow and of course that spread like wildfire. Everybody that ran in that circle of friends called me that from then on. Fast forward a handful of years and when this project started I thought I’d use my old nickname just for fun. Everybody once again seemed to like it, so it stayed.

EOAF: In our crazy technology driven world, what is the best way for you to get the word out about your music?  What seems to work best (word of mouth, social media, etc.)?
JJ: Definitely social media. Because of that I have an international fan base instead of just local and I’ve never left the country, so that pretty much sums it up.

EOAF: What kind of support have you received from the music scene in PA?
JJ: I love Pennsylvania and you’ll find just as many music lovers around here as anywhere else. The one problem with being from rural Pa is that there aren’t a lot of original venues around and you have to travel. As far as support goes, I have a lot of old friends from my local area who follow my social media sites.

EOAF: What do you think of the re-emergence of “roots”/”Americana” music in the mainstream?  Good, bad, indifferent?  Any rising acts that you really like?
JJ: Man if it weren’t for the re-surgence of Americana/roots stuff I think I’d be in big trouble as a songwriter, lol. I have to say that I do like The Lumineers and I think that they and maybe Mumford and Sons have really given Americana that “mainstream” push. I’m sure there are plenty of others I didn’t mention also.

EOAF: What was your experience like writing music for various MTV shows?  Have you watched MTV lately?  Do you think it still is an important avenue for musicians?
JJ: There are other music video choices these days which is great. MTV specially, though the innovator of the popular music video, has changed away from that format it seems. Maybe YouTube has something to do with that I don’t know. We didn’t write music specifically for MTV, they actually picked up what we had written and used pieces of it on the shows as soundtrack stuff.

EOAF: How has your work with Bright Star International changed you?  Why is this charity so near and dear to your heart?
JJ: To be honest, though I am on the Bright Star roster, I haven’t worked with them yet. I am definitely looking forward to working with them and the various charities that are involved with children. I have three youngsters myself and they mean the world to me. It kills me to think that there are kids out there that don’t have the opportunities to thrive in life. Bright Star themselves are not a charity but an organization that hooks artists up with charities. What a great idea !!

EOAF: Have you always been a Taylor guitar guy?  Tell us a bit about your guitar and how it helps you tell your story.
JJ: This is my first Taylor and I don’t think I’ll ever change from that. One day I picked up a friend’s Taylor and instantly fell in love with it. I just wish I had enough money to go out and grab up a few more of them. It’s mainly a comfort thing and that means a lot to me as I’m playing for long periods of time. The feel is great, the sound is great and the quality/workmanship is great. What more can I say.

jiggley jones video shoot2

Photo by Beauty By Grace

To learn more about Jiggley Jones and his music, please visit: http://jiggleyjones.com/wordpress/

3 Comments

Filed under Interview, Music

Interview – Emily Minor

minor

“North Carolina is the best place in the entire world.  No matter where this job takes me, Carolina holds my heart.”

~Emily Minor

With a relentless loyalty to her southern upbringing, Wilmington native and East Carolina University graduate, Emily Minor epitomizes the idea that you can take the girl out of Carolina, but you cannot take the Carolina out of the girl.

Three years ago, after graduation and a life-changing experience on American Idol, Minor packed up her acoustic guitar and college memories and moved to the epicenter of country music–Nashville, Tennessee. With husband John by her side, Minor jumped into the country music scene feet first, with a big dream and nothing to lose.

Evolution of a Fan caught up with Minor recently to chat about life in Nashville, on the road, and what she enjoys most about being a musician.

EOAF: How did your upbringing affect the type of musician you are today?  What kind of music were you exposed to at an early age? 

I’m extremely lucky that I was raised in musically diverse home. Our radio played anything from Buck Owens to Stevie Ray Vaughn, from Billy Joel to Whitney Houston. I was always exposed to great music and artists.

EOAF: What musicians would you have on an iTunes playlist?

It’s a lot like what I grew up on, a little bit of everything. I enjoy some of the new country on the radio today but I really love old country. It’s not unusual to find Merle Haggard or Brenda Lee on my iPod. 90’s country is great too, I love Brooks ‘N Dunn. It’s a broad spectrum–Hall and Oates, Aerosmith, and I love working out to Katy Perry.

EOAF: What is your songwriting process like?  Do you tend to write the lyrics first or melody? 

Typically an idea for a hook comes to me first and I can usually sing it the way I would hear it in a song. Usually lyrics will come to me and then I’ll sing it back to my husband and together we’ll create a melody on our guitars.

EOAF: Do you play any instruments? 

I play acoustic guitar when I’m writing and learning new songs at home. I don’t play anything while I’m on stage and maybe eventually I will. I love to entertain and sometimes its hard to run across the stage and jump around with a guitar strapped to me. Not to mention, I play with a bunch of ridiculously talented musicians. I leave them instruments to them.

EOAF: What types of things/events/experiences inspire you to write? 

 I’ve been lucky to live a very uneventful, happy life so sometimes it’s hard to draw from personal experiences but every now and then I’ll write something that relates to my life. I find a lot of inspiration in whats going on with my friend’s life, whats going on around me, or something that has happened to someone I know back home. It’s a lot of fun to make up stories and write about them, create situations in my mind.

EOAF: Your EP has some really great songs on it.  What new songs are you testing on the road and when can your fans expect an LP?

Thank you! I have been writing a lot. At one point this summer it was like my creative juices were just pouring out of me and everyday there was a new song to write. I’m still writing a ton and now we’re in the beginning phases of choosing what songs are good enough to put on the new album. We’ll start the work for a new album this winter. I can tell you that you can expect more songs written by me and my co-writers and a lot of what you heard on the first album. Great, turn it up loud, sing-along songs and some tear-jerker ballads too.

EOAF: Where were you when you first heard one of your songs on the radio and how did it make you feel?

I was in a McDonald’s parking lot and it came on the radio. i had just finished and interview with the station and they were playing it right after the interview aired. I just sat there and listened. I close my eyes and just took in the moment and soaked it all up. And then I screamed and jumped up and down! You never really get used to hearing yourself on the radio. It’s always a treat to hear your songs played. It’s a very rewarding three and a half minutes.

EOAF: What have you learned about the music industry since moving to Nashville?

I’ve been in Nashville for three years now and my mind has been like a sponge. I just soak up everything I hear and read and try to learn as much as I can. For one, I’ve learned that there are so many talented people in town. You never know if you’re going to pop into a songwriter night and see the guy who wrote Eric Church’s “Springsteen” or hits for Diamond Rio. That’s awesome to me. I’ve also learned to be nice to everyone and to never speak badly about someone. You never burn bridges. You never know who someone is, who they know, and how it could come back to hurt you. You can’t make judgements in that town.

EOAF: How hard or easy has it been to connect with other songwriters and producers in Nashville?  

Networking is what Nashville is all about. You’ve got to shake hands–it’s just how the world turns there. It’s really easy to go into a writer’s round and hear someone great and approach them later about writing together. They’re just like you. They want to meet new people, broaden themselves as writers, and have something new to look forward to. Everyone is so friendly in Nashville, It just takes walking up and introducing yourself. Even the big time celebrities are down to earth and don’t mind stopping for a picture or to talk. I saw Vince Gill once and just walked right up to said hello. He is one of the nicest people I’ve met.

EOAF: I’ve read that you really enjoy being out on tour.  What are your favorite and least favorite things about being on the road?  

Of course playing to new people and being on stage is the best part, but I also just enjoy the riding time with my band. We’re one big family, they’re the brothers that I never had. We joke on each other, laugh, get into a little trouble. When you’re on the road for that long with the same people, you have no choice but to like each other and make the most of it. We have a great time. My least favorite thing would be missing out on friends and family things. I have to miss a lot of birthdays, weddings, family dinners–and sometimes that’s tough.

EOAF: What type of venue/music event do you enjoy the most? (listening room, bar, club, festival, songwriters session, etc)?

It’s so hard to choose because they’re all great. I love to play a listening room or writer’s round because it’s very intimate and people are there to listen to your work. They listen to your lyrics, take it all in, and really hear the message you’re trying to deliver. Festivals are fun too because it’s family friendly and I love watching all of the little kids dance around and have a good time. It’s also a great way to meet the fans, hear what they have to say, and get your music in their hands. I really enjoy singing the National Anthem too and I’m always honored to be asked.

 EOAF: What do you enjoy the most about performing live?  Any specific experiences that stand out from your shows?

Nothing is better than being on stage. It’s a high for me. Every now and then we’ll take some time off to recharge or spend some time writing and after a couple of days, I’m losing my mind! I’m ready to get back on the road and play. the best part is watching people sing along to the songs you’ve written, or having them request that you play one of your own songs. That’s always the highest praise. My shows are always super fun but for the most part nothing crazy usually happens.  I once had two grandmas start fighting while we were playing. It was hilarious.

EOAF: Tell me a little bit about your backing band.  How did you guys get together?

We all met through mutual friends. That’s how it works out there. You start playing with people and then they’re unavailable for a gig so you call a friend of theirs who can do it and it’s all one big link. Right now I’m very fortunate to have some talented guys on the road with me. My guitar player is my husband, John, and with him we have a fiddle player, bass, drums, acoustic guitar, and occasionally keys. Not to mention they’re all super nice and down to earth which goes along way with me. You can be a really great player but if you aren’t easy to get a long with and friendly, it’s not going to work out.

EOAF: What is your favorite song to cover and why?

I love to do anything by Aerosmith. If I could die and come back as someone else in this world, I’d be Steven Tyler. I just love everything they’ve done. Right now we cover “Crying”. I saw Steven Tyler and Carrie Underwood cover it and I thought, “I HAVE to do that!” I also love the song “All I Wanna Do Is Make Love To You” by Heart. I watched my Mama sing along to it on the radio as a little girl and I love singing it now. I’m country to the bone but I’ve got a little bit of a rock ‘n roll heart too. I’d love to work some Fleetwood Mac into my set.

EOAF: What is your “must have” when you are on the road?

I always have my own pillow and blanket. I’m peculiar about hotel linens and their cleanliness so I always have my own blankets and pillows. I’d also be lost without dry shampoo for my hair.  It’s great for in-between days. Oh yeah, and my husband. He manages me and plays in the band so I probably shouldn’t leave him at home or I wouldn’t know where to go or what to play!

EOAF: How do you feel when you come back home (to NC) to perform? 

North Carolina, especially Greenville and Wilmington, have been so good to me. And even all of the little towns around. Everyone is so supportive and caring. I can always count of seeing some familiar faces in the crowd and someone is always wanting to feed us or offer up a shower and bed for a nap.

EOAF: What do you miss about Greenville?  How did your time at ECU prepare you for where you are today?

Greenville is so wonderful and near and dear to me. I grew up in Wilmington but in a lot of ways I feel like I really grew up and learned who I was in Greenville. The small town, the close-knit community, I just love that. I really miss Saturdays in the stand cheering on the Pirates too and tailgating with my friends. I majored in Education at ECU. I thought I needed a “real” career, but I started a band while I was in college. Getting my start playing around Greenville really taught me so much and prepared me to move the band to Nashville and take this more seriously.

EOAF: What do you do when your aren’t writing or touring?  Any other interests or charity work?

I’ve been blessed to work with some great charities over the past couple years. I’ve done some breast cancer and heart research events and I always appreciate being asked to join them. I try to spend as much time with my family any chance that I get. We are all very close and I miss them terribly. On normal days, I spend my time doing things like grocery shopping (my favorite place!) and laundry. I find them relaxing and it brings a sense of normalcy and routine to my life.

EOAF: What advice would you give to a young musician who wants to pursue a music career?

Start a band! Play! To anyone who will listen, it doesn’t matter if you make money. The money will come. Just start a band with really great musicians, practice, take yourself seriously, but not too seriously. No one likes a big ego. And get on the road and play, get your music out there. It doesn’t hurt to move to one of the music capitals of the world,  Nashville, LA, New York. Atlanta’s music scene is really growing a lot too. Surround yourself with people who are doing what you want to do.

It is clear that fame and recognition have not gone to Minor’s head.  She maintains her homegrown charm and light-hearted spirit, which translates into relevant music that keeps her fans coming back for more. Minor’s fall/winter tour is underway.  Check out her website and catch her as she blows through your town!

1 Comment

Filed under Fans, Interview, Music

Interview – Dolph Ramseur

dolphramseur

Thirteen years ago, Dolph Ramseur left the tennis court to start his own independent record label, Ramseur Records. He had no real experience in the music industry, but was armed with a deep-seated passion, blue-collar work ethic, and relentless determination–three key ingredients for success in any industry.

Today his roster includes bands like The Avett Brothers, Langhorne Slim and The Law, Bombadil, Paleface, Jim Avett, David Wax Museum, Carolina Chocolate Drops, and Samantha Crain. After over a dozen years in the business, Ramseur still maintains a humble demeanor, a sweet southern charm, and a homegrown love for music. Simply put, he is a fan just like the rest of us.

Recently, Evolution of a Fan caught up with Ramseur via phone to learn a bit more about the man behind the music:

EOAF: Good morning Dolph, thank you for taking the time to chat with me. Briefly, what is a typical day like for you?
Dolph Ramseur: Well, I get about 250 emails a day, and then on top of that, mix that with phone calls and instant messages. But, it’s really just sort of making the foundation for the artist, building upon that, trying to see what is coming in the future, what’s down the pipeline and plan for that accordingly–whether it’s tour dates or recording.

EOAF: So are you pretty hands on with promotion and booking for some of your lesser known bands?
DR: To a certain extent we are. Some of our acts don’t have booking agents so we have to find shows for them. But then the ones that do [have booking agents] we help out with the promoters, and getting the word out about shows and when do tickets go on sale, and how do we promote these shows, and what kind of Facebook ads are we going to take out, and what should we post on the website. There’s a lot of moving parts.

EOAF: Do you have a fairly large staff to do this or is it still a pretty small operation?
DR: Well, we are still small. I have an employee in Nashville, one in Los Angeles, and then one in the Winston-Salem area, and I am in Concord, NC.

EOAF: So you are still working out of your house?
DR: Yes, we all do that.

EOAF: That’s convenient.
DR: Yeah, we’ll its got its advantages and pitfalls, as anyone who works out of their house will tell you.

EOAF: That type of flexibility sort of allows you to move where you need to go. Do you often get on the road to support your musicians?
DR: Yes, although I can’t do it as much as I used to, just because it’s so busy on all aspects of what we do. But, yes, I get out quite a bit.

EOAF: What would you say over the past year has been one of your highlights of being at a show?
DR: Well the two shows with The Avett Brothers at Red Rocks this past year were great. Seeing The [Avett] Brothers down in Atlanta in front of 12,500 people was pretty special as well, because I was at the first show when the guys played in Atlanta. You know you go from playing to 50 people to 12,500 and you see the growth of the band. It’s pretty amazing.

EOAF: Does that shift ever seem overwhelming? Do you ever ask yourself, “How did we get here?”?
DR: Well, I know kinda how we got there. It was a lot of hard work, and a lot of talent from the band. I feel like we’ve got one of the best fan bases in the world. So, you mix all three of those things together and some special things can happen. But in some ways I’ve lost scope of maybe how big it is, and maybe that’s a good thing. I mean, I saw the guys play to 8 or 9 people in Charlottesville, VA 10 years ago and they put on the same show to those 9 people that they did at their last show in Charlottesville to over 4,000. So, I think we all have blinders on when it comes to that. We are thankful that we have that kind of crowd, but it’s not something that we, I mean, it is what it is.

EOAF: Now some of the bands that I believe you have on your roster now were introduced through your relationship with The Avett Brothers. Do you kind of keep an eye on their opening bands as a way to find new talent?
DR: It just depends. I find them everywhere.

EOAF: Are you actively looking for new talent, or do you feel like you are pretty much at capacity at this point?
DR: Well, we are pretty full, but you never know what you might come across that strikes us. That’s sort of a hard one, you know, because you just kind of get bit by the love bug on it, so I just don’t know.

EOAF: You’ve probably served as a mentor for the musicians that you manage, but do you also serve as a mentor for your staff?
DR: There’s a lot of give and take with my staff. I always had the saying, ‘big team, little me’ so we always learn from one another. I’m learning something everyday at this job. So, we share the knowledge of this, and I think the main thing that we are trying to do is to have fun doing this, because there are so many people working jobs that hate their jobs. My staff and I are really lucky because we are doing something we really love and have fun doing. As far as being a mentor, I’m not sure. I think we are all in this together, so it’s not necessarily that kind of role I’m playing.

EOAF: As a manager, how would you define your job. What are the important qualities that you think have led to your success?
DR: I guess, well, you see in some ways I don’t even feel like we are in the music business. I’m in The Avett Brothers business. I’m in the Carolina Chocolate Drops business. I’m in the Bombadil business, the Langhorne Slim business. I feel like all of these acts we work with are all handmade kind of acts. They are all unique. They are all different from the norm. It’s tough for me to answer. I’ve been at this now for about 13 years and I had no experience of it before getting into it, so maybe I had no bad habits and I didn’t know the pitfalls necessarily. We kind of just went by the seat of our pants. But, you know, I’m from a very blue-collar family, so I’m just a hard worker first and foremost. I show up everyday, and I care. If you show up everyday and you care about what you are doing, it’s almost hard not to have success, because there are so many people not showing up with that passion. I can’t speak for those folks, but we just take a lot of passion and pride in this, and I want everybody on the planet to hear these acts.

EOAF: That passion and that gut feeling you get when you find a new artist, or hear someone like Langhorne or Paleface, does that feed into your decision to bring them on? Would it be difficult for you to represent someone who you didn’t have that feeling about?
DR: Yes, it would be tough. It just wouldn’t be fun.

EOAF: You’ve said in other interviews that you are really just a fan of music, and that is kind of what got you into this. Do you think your musical tastes have evolved since staring Ramseur Records 13 years ago?
DR: Well, I’ve always been left of center when it comes to music, so I like all forms. If anything I get jaded because I hear so much stuff, and it’s hard to digest so much music that’s coming at me sometimes. My father was a big Johnny Cash fan. He was a big Hank Williams Sr. fan. He was a big Roy Orbison fan. He loved The Platters. He was a big Pavarotti fan. My father is about as blue-collar as you are going to find. He didn’t go to college, real hard-working fella. So, he exposed myself and my sister to a lot of different kinds of music. So maybe I get that a little bit naturally. He also had a thing when it came down to gospel music, he would rather have someone who was not a great singer but put a lot of heart and soul into it as opposed to a great singer who was just going through the motions. I learned that early on from him. I don’t know how much my tastes have evolved, because I just like so much stuff.

EOAF: You grew up surrounded by all of that great music. Do you actually play an instrument or sing?
DR: No. I do not. I keep telling people that I am one of the world’s greatest musicians, I just haven’t found what instrument will get it out of me. I do not play, and I think I learned that from tennis. I taught tennis at country clubs and I went to college for tennis and I kind of lost the passion for that because I did it so much. I’m almost glad I don’t play an instrument, because it kind of keeps me from overloading too much.

EOAF: When you started Ramseur Records, did you start it with the intent of putting out albums and being a manager, or did that combination evolve over time?
DR: Yeah, it kind of evolved. Again, I really didn’t know what I was doing at all.

EOAF: And starting the label came out of a relationship with Martin Stephenson?
DR: Yes. Martin had gone through the whole gambit of the industry from being an independent artists who got signed to a major label. Martin, very much like The Avett Brothers, never had radio success, but he was selling thousands of tickets in the UK, and really doing well. He had a very similar story to what The Avett Brothers have going on, where they have kind of danced around mainstream success but sort of still stayed under it. That’s kind of what Martin did. So, I learned quite a bit from Martin and he is very similar to The [Avett] Brothers and he’s got the same gift they’ve got.

EOAF: How did you meet him?
DR: That kind of goes back to me being a music fan. He had left major labels and went through the indie route and was putting out records on his own, and I reached out to him. He noticed I’m from NC and he’s a bit of a fan of music from this state, like Doc Watson and Charlie Poole and the Piedmont blues players from the state. So we just struck up a friendship, and I told him that he should come over to NC and I will introduce you to some pickers. That’s kind of how it all happened. I really didn’t have any real idea of getting into the business. When I met Martin I could see where musicians need help, and they need some support and someone to help and put fuel on the flame.

EOAF: So, a manager is like a Jack-of-all-trades. You have to do everything, wouldn’t you say? You are the sounding board, you book, you promote, you do all of these things.
DR: Yes, definitely.

EOAF: In that light, I saw that The Avett Brothers recently released their first single off of their next album. Are you involved in those types of decisions, like which single will be released, album art, song sequence, etc?
DR: That’s a yes and no type of question. It differs for every act, because some acts will want our input on a certain aspect of the [process]. Like, some may want to know feedback on a single. Some may be dead set on a track listing and some may be dead set on artwork. Some will need help on artwork, and some will need help on the track list. It varies from case to case. We are and we aren’t, just depending on what the project is, where the artist is. Sometimes the artist may change where they need help, because they are so close to the project. They sometimes need help from someone that’s got a little separation from it.

EOAF: In terms of an artist like Langhorne Slim, his last album, to me, was Grammy-worthy. Does it ever surprise you when things don’t get as much attention or the attention you think they deserve?
DR: No, no. We are just thankful for the attention we get and we can’t sit around hoping and wishing and ‘what ifs.’ We have to play the deck of cards we are dealt. You know that album to date has sold 22,000 copies. That is a lot of records for an independent act like Langhorne. I look at all of then albums like babies. You want them to grow up and do well. Sometimes they do and sometimes it doesn’t stick. It’s hard to say what America or the world wants, and the way certain things go. You know, who knows? I have no clue.

EOAF: How do you find a balance between managing all of your acts?
DR: It’s hard for me to know what time is spent on what. With some of my acts, certain employees will spend most of their time with those certain acts. Of course I spend most of my time with The [Avett] Brothers, with The [Carolina Chocolate] Drops. So it’s just kind of hard to say how that time is divided up. I’m so close to it, it’s hard for me to kind of step back and see it.

EOAF: Can you speak about your handshake contracts? Why does this work for you and has it ever backfired?
DR: No, it hasn’t backfired and I don’t know, I just got into this business to have fun. I feel like if so much energy is spent on that kind of stuff it just sort of takes the spirit out of things. That’s not to say that you can’t have great spirit and great goodwill between two people in a contact, but I just kind of like the old thing that you get further with shaking hands than balling up a hand in a fist. Again, I don’t recommend it to other people. I just do my own thing.

EOAF: What kind of advice would you give to a rising musician who is looking to get signed or looking for someone to represent him/her?
DR: I would say more than anything would be to try to master your craft, and also try to realize that no matter how great you are, there’s always ways to improve. I don’t really deal with anyone like this, but I kind of sense that some artists think they are the greatest thing since sliced bread. A lot of times that’s sort of when they plateau and never kind of get any further down the road than they already are. I feel like if you are an artist who is always trying to push the boundaries of what you are doing and always trying to improve as a singer, as a songwriter, as a performer, I would say definitely master your craft and a lot of things will fall in place with that. Also, there’s this sort of sense that you’ve got to get this success right now, and I don’t feel that’s the case. A lot of times people who did have success quickly, it would be a rocket ship–as soon as it goes up, it’s coming right back down. You have to think of it more as a balloon ride. Also I always say to steer clear of the American Idol, The Voice, those kind of things. I just kind of feel like that’s all smoke and mirrors in my opinion.

EOAF: Charity appears to be a big part of your business model. Why is that so important to you? Was that something that you thought of from the beginning, or has that just evolved over time?
DR: That might be my family background. I feel like all of my family has sort of had that mindset. We’ve all been pretty fortunate and hardworking. My grandparents where cotton mill workers, and they were real thankful to just have a job, and they were really active in their church and in the community. I remember my grandfather, who was born in 1902–my other grandfather was born in 1900–but my Grandpa Ramseur I remember, as a kid, every Thursday he would dress up in his Sunday best and go to the hospital and just pray for people in the hospital. He’d just go room to room and ask them if it was okay if he could pray for them. He did that for years. So, I guess I get it kind of honestly.

EOAF: Is there anything coming up in the near future, like the My Favorite Gifts Christmas Album, that you have in the works?
DR: There might be some things in regards to St. Jude with Bob’s daughter. Hopefully there will be some things that will come from that. We’ve got a new Cheerwine campaign with The [Avett] Brothers, the second installment of The Legendary Giveback and that’s going to be pretty exciting. We are always looking at things and seeing what might work. There are a lot of things being done that no one even knows about. We are fortunate to be in a position to help.

EOAF: That is awesome, and the fan base definitely takes it to another level as well. They organize their own fundraisers. I’ve seen it in action. It’s pretty amazing and inspiring, and it’s nice to know that you all have a piece in that, and that you’ve inspired other people as well.
DR: I can’t speak any more highly for the fan bases that [our] bands have. We are so fortunate. I feel like all of the acts realize that they wouldn’t have the careers they’ve had without the fans for sure. That’s another thing that I think has benefited me is growing up in the hub of NASCAR. When I was a kid, Richard Petty would sign autographs until nobody wanted one, but he would always thank the fans and let the fans know that without the fans he wouldn’t have the opportunity or then platform to do what he does.

We’d like to thank Dolph Ramseur for his time and contribution to Evolution of a Fan. To learn more about Ramseur Records and the artists, please visit the official website and Facebook page.

Leave a comment

Filed under Interview, Music

Interview – Time Sawyer

timesawyer

“Saturday morning was come, and all the summer world was bright and fresh, and brimming with life. There was a song in every heart; and if the heart was young, the music issued at the lips. There was cheer in every face and a spring in every step. The locust-trees were in bloom, and the fragrance of the blossoms filled the air. Cardiff Hill, beyond the village and above, it was green with vegetation, and it lay just far enough away to seem a Delectable Land, dreamy, reposeful, and inviting.

Mark Twain, The Adventures of Tom Sawyer

There is something intriguing about the process of naming a band. While some musicians choose to use their surnames, others find inspiration in art, literature, or everyday events. Such is true for the up-and-coming band out of Elkin, North Carolina named Time Sawyer. This folk-rock band, which consists of Sam Tayloe (vocals, guitar), Kurt Layell (lead guitar), Houston Norris (banjo), and Clay Stirewalt (drums), came together a few years ago to make “real music” with a grassroots feel matched with high energy. It was out of this common mission that they started to lay a foundation and grow a loyal fan base. Beyond bringing their own music to the people, Time Sawyer founded Reevestock Music Festival. Now in its third year, Reevestock not only boasts a great line-up for a smaller, more intimate festival, but also remains true to its local roots by benefiting the restoration of Elkin’s last theater, The Reeves.

I recently caught up with Time Sawyer’s Sam Tayloe to learn a bit more about the band’s name, their story, songwriting, and how they are building a music empire in their rural hometown.

Evolution of a Fan: Can you give me a brief explanation of where the band name “Time Sawyer” came from?


ST: Kurt and I started the band in 2010 and we were looking for something to connect where we are from to where we are headed.

“Time Sawyer” let us do that by pulling from the character Tom Sawyer to represent the rural area that we came from (Elkin, NC) while also being used as a grassroots character, in touch with [his] craft.

We chose “Time” because, in songwriting, I don’t think there is anything you can write about that doesn’t have time involved. Truly in life I don’t think you can either. But in songwriting, you can be writing about how much you love how great something is and you want time to stop dead in its tracks, keeping you in the moment, or, you could be doing all you possibly can to escape from some hard times, relationship or otherwise, so you want time to move along. It just seemed to fit with time being such a constant with anything you are involved in.

EOAF: How did the current band come to be? How did you all meet?


ST: The current band is the only band, which has been really neat. Kurt and I started working together a bit earlier after being introduced by a mutual friend. It just kinda worked out that we got to add some really great supporting pieces without much work, as Houston was my best friend in high school and Clay, Kurt’s. We also have a 5th member that we love as an original–Mr. Bob Barone plays pedal steel with us anytime we can have him.

EOAF: It looks like you guys have turned out a lot of albums in a short amount of time. Who is the primary songwriter and what is the process like for the band? Is it a collaborative effort, or does the primary songwriter just come with the song and arrangements?


ST: Yeah, we try to keep our nose on the grindstone. Kurt and I are the primary songwriters. It’s been really fun to watch the operation grow as it has. Kurt is writing some amazing songs right now, and I’m really excited to work on this new record we are planning for later this year. Collectively we have written about 20 so far for it. When we write songs, usually Kurt or I will finish one entirely, show the other, get feedback, then bring it to the band to help with what else we should add to it, and form a direction for the song. Houston and Clay really bring a lot to helping with songs when they get to them. Recently however, Kurt and I have written some together, or had a song that was half way done but needed or chorus or bridge, etc and we would help the other. It really seems to be working well as we grow.

EOAF: What do you think makes a “real” song? 


ST: I think that is a very loaded question (haha). Real can be a lot of things, but I think genuine is the only thing that has to be constant. I feel like–and hope others see it the same way–being honest and genuine is something you can see/feel. There are times that you get duped, but those situations can be turned into genuine songs themselves.

EOAF: From where do you pull your musical inspiration (other artists, personal experiences, observing others)?

ST: Most of what gives us the fuel to write is our own experiences. I have begun some now to write a few “story” type songs where I don’t have to completely use all me, but usually am still personally connected to the song. Other musicians help to give us ideas as well. Kurt and I both have a few of the same favorite artist that help to inspire for sure.


EOAF: Talk a little bit about how the idea for Reevestock came about. I know you are in your third year and that it continues to grow. How did you come to decide to put on this festival, and why is it important to you/band?


ST: Reevestock is a festival that is really 3-fold. I started thinking about bringing some more music and activities to our hometown than I had when I lived there as a kid. Some of my favorite events to attend are music festivals so I figured I’d look into that option. After some research, it seemed like a feasible option. Choosing The Reeves Theater became more of a symbol than anything. The whole event is a benefit for The Reeves, but it’s also an event with purpose to benefit the whole town of Elkin and our musical needs. Maybe need is a bit far, but I’ll leave it. We do continue to grow and that really helps me to feel like we’re doing this right. We will continue to grow, have fun, and help benefit as many people as we can.

EOAF: What are you most excited about for this year’s Reevestock?

ST: All of it. Most (kinda) of the work is already done, so I’m eager to get the music going! It’s really a fun time.

EOAF: What does The Reeves Theater mean to you personally? Do you have childhood memories of going there to hear music/plays/movies? If so, would you share a few?


ST: Honestly, I don’t have any memories of the Reeves as a kid. I believe I was taken by my mom to see the Lion King and a few other movies there, but I have no recollection of it. As I said before, it helps to serve as a symbol of just keeping music alive.

EOAF: What do you think is special or unique about Yadkin Valley music. Why is its preservation so important?

ST: I think music is special. No matter what people go through, people find music to connect with. Our area is rich in bluegrass heritage and is really known for that. Besides our bluegrass though, we don’t have much of a musical touch, so that is what I’m looking to change.

EOAF: On your webpage, whoever writes the blog entries often says “Hootie Hoooo” or calls your fans “Owlets”…This made me laugh when I read it. Where did that come from? What’s the significance of the owl references?


ST: Kurt brought the owl into the Time Sawyer world and we’ve had a wooden figurine of one since our very early shows. Since then we have made it our power animal, ha. We started “hooting” at fans on Facebook post a while back, but Kurt’s brother, Justin Layell actually coined “Owlets” for us while writing for us on tour this past spring.

EOAF: How do your songs typically evolve from studio to stage?

ST: We build and play songs for a while before the studio, even play lots of them live, so most of what you hear on a record as been tested. We do find different ways to add some zest or change a song up here or there after we have played them for a long time post-record. It’s always fun to throw in a surprise.

EOAF: What is one or a few of your favorite things about performing live shows in different venues (coffee houses, house shows, clubs, festivals). How does the audience affect your performance?

ST: All of those places bring so much to the table if you’re willing to take what is given. House shows offer you a very intimate and open-eared crowd. Those are really fun because of that. Jody Mace puts on Common Chord House Concerts, in Charlotte, NC. It’s a really great group. Festivals and venues give you that crowd interaction that may talk through some of [your set], but also give you that “let’s dance” vibe, too. You can take something good from any show. We want to make friends that become our fans. We are really close with our growing fan base.

EOAF: Finally, what do you want to leave behind as your musical legacy? What do you think fans/listeners will remember about Time Sawyer in the future?


ST: We want to make sure people remember Time Sawyer first, but we are making large strides to do that. We feel very confident in our growth and what our music stands for. That being said, I think we’d like to be remembered for our honesty and ability to connect with fans. Being genuine like we talked about. Being remembered as the most badass band of all-time works, too.

owl

Time Sawyer will be performing at Reevestock along with The Dirty Guv’nahs, The David Mayfield Parade, Joe Pug, A Great Disaster, Owen Poteat, Luke Mears, and The Jon Linker Band. The festival runs from Friday, August 2nd (at The Liberty) through Saturday, August 3rd (at Elkin’s Hidden Amphitheater). Single and two-day tickets are still available, so get out there and check out some amazing musicians, all while supporting the restoration of a historical landmark that captures the essence of the good old days in a small country town. Does it get any better than that!?

“In the common walks of life, with what delightful emotions does the youthful mind look forward to some anticipated scene of festivity!”

Mark Twain, The Adventures of Tom Sawyer

**Thank you to Sam Tayloe for his time and enthusiasm, and Jody Mace for constantly spreading the word about great music!**

5 Comments

Filed under Festivals, Interview